Małgorzata Szumowska’s Body (2015)

Vol. 50 (February 2015) by Konstanty Kuzma
Małgorzata Szumowska’s Berlinale in-competition dramedy is spongy.

Radu Jude’s Aferim! (2015)

Vol. 50 (February 2015) by Konstanty Kuzma
Radu Jude joined the Berlinale competition line-up with a powerful historical epic.

Nataliya Belyauskene’s If Only Everyone… (Ete Bolor…, 2012)

Vol. 49 (January 2015) by Konstanty Kuzma
Konstanty Kuzma wonders whether the pacifistic pathos of films like If Only Everyone.... justifies their existence.

Fatih Akin’s The Cut (2014)

Vol. 49 (January 2015) by Konstanty Kuzma
Fatih Akin's latest film follows the fate of an Armenian family separated in the course of Ottoman purges. Politically, the film caused an uproar, but what about its artistic appeal?

Wojciech Wiszniewski’s documentaries

Vol. 48 (December 2014) by Konstanty Kuzma
Konstanty Kuzma examines the liberal formalistic elements of Wojciech Wiszniewski’s documentaries.

Wojchiech Jerzy Has’ The Saragossa Manuscript (Rękopis znaleziony w Saragossie, 1964)

Vol. 47 (November 2014) by Konstanty Kuzma
Konstanty Kuzma discusses whether this Polish classic can be seen as a work of Enlightenment, whether it counts as surrealist and what these two opposing mindsets have in common.

Jan Jakub Kolski’s Pornography (Pornografia, 2003)

Vol. 46 (October 2014) by Konstanty Kuzma
In his article on Jan Jakub Kolski's Pornography, Konstanty Kuzma claims that the filmmaker misunderstood the original work by Witold Gombrowicz.

Andrzej Munk’s Bad Luck (Zezowate szczęście, 1960)

Vol. 45 (September 2014) by Konstanty Kuzma
Konstanty Kuzma discusses aspects of comedy in Andrzej Munk's Bad Luck.

Wojciech Smarzowski’s Traffic Department (Drogówka, 2013)

Vol. 44 (August 2014) by Konstanty Kuzma
In Traffic Department, a police officer learns first-hand what it means to be accused of a wrongdoing...

Jan Kidawa-Błoński’s In Hiding (W ukryciu, 2013) & Jerzy Skolimowski’s Four Nights with Anna (Cztery noce z Anna, 2008)

Vol. 43 (July 2014) by Konstanty Kuzma
Konstanty Kurma's comparison of two recent Polish films makes him wonder why freedom and democracy made Polish cinema more dogmatic than it previously was.
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