Katarzyna Gajewska

In a quiet, lonesome Polish city, a neglected ten year old girl kidnaps a pampered toddler and pretends to be her mother.

Piotruś – together with his wife, mother-in-law and Leopold – moves to a new home: a historic manor house. And Marlenka decides to find a suitable ancestor for her family – one that will fit into the elegant residence… Agnieszka, in turn, is pursuing a career at the university, but right after defending her PHD, she suddenly discovers that she is pregnant. And when little Kuba is born… problems begin! Piotruś accompanies his sister during childbirth and begins to dream of a child himself – to Marlenka’s horror. Marcin, a new father, panics and suddenly disappears. In addition, a mysterious pregnant girl appears in Brzózki and she is looking for Zawada…

The teenage siblings know that no one will give them a life more interesting than vegetating in a gloomy hole. They take matters into their own hands and organize a bank robbery, because money is their ticket to a better world. Everything was supposed to go smoothly, but then that fatal bad luck struck... Cop 1 isn't so bad: he keeps his wife in line because he loves her, he drinks because he's lost, he takes bribes because he needs money for booze. Cop 2 isn't bad either, he just supports Cop 1, who's in trouble, spiritually. Soon, the paths of the cops and thieves will cross...

In 1866, as Austria faces war with Prussia, 19-year-old Ludvík Machl joins a secret Czech resistance group. When he is caught with stolen funds and a weapon, the police commissioner spares him from prison on the condition that he work as an informant. Trapped by fear and betrayal, Ludvík is forced down a path that leads inexorably toward his own destruction.

The radical Polish director Małga Kubiak is regularly represented with her films at the Pornfilmfestival Berlin. In 2016 we showed “Andy Warhol to se vrati: boyz” and in 2019 followed “Federico Garcia Lorca Noir Despair”. Last year she was in the festival program with “Xreens”. In her latest film “D’Vinci”, the filmmaker again reflects on a famous artist. As expected, it did not turn out to be a typical biopic, and Kubiak dives deep into the meaning that her films and her way of working have and had for herself and for others – as always in her incomparable no-budget style. In today’s conservative Poland, her way of making films is no easy feat.