

A team of astronauts land on an inhabitable planet and form a society. Many years later, a single astronaut is sent to the planet and becomes a messiah.Read More »


A team of astronauts land on an inhabitable planet and form a society. Many years later, a single astronaut is sent to the planet and becomes a messiah.Read More »

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Kazimierz Kutz realized with great attention to details a pathetic fresco about those dramatic events. His film, of unquestionable artistic value, is also a tribute to the courage and determination of miners who did not hesitate to give their lives for the ideals of August Uprising. Katowice, the night of December 12-13, 1981. Military units occupy strategic points in the city. General Jaruzelski is about to announce martial law on television. A group of henchmen, breaking union security, drag the chairman of the works committee of the Solidarity trade union in the “Wujek” mine out of his apartment. The news of this quickly spreads to the miners. Initially surprised, they soon react with a spontaneous protest. On December 14th a strike breaks out in the plant. The workers demand the lifting of martial law and the release of the chairman. Negotiations with the authorities end in a fiasco. The army, ZOMO and the militia prepare to storm the mine.Read More »
“Angel In The Wardrobe” is a film about responsibility, towards ourselves and others. A film about conscience; about the memory, without which we are nothing. The fears and anxieties in us and around us”.
— Stanislaw Rozewicz.Read More »

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Polish filmmaker Andrzej Zulawski is best known for his anguished monster flick Possession, which featured Sam Neill and Isabelle Adjani as a married couple spiraling toward domestic meltdown. His films are aggressive shrieks of madness, doomed love, trance-state convulsions, and shrieking emotional upheavals. The octopus creature that materializes halfway through Possession, completing the film’s bizarre love triangle, transports a fairly naturalistic, if explosive, kitchen-sink drama into the realm of magical realism; Zulawski swore that his 1981 masterwork was partially autobiographical, coming as it did so soon after a vicious and harrowing divorce.Read More »