The Passenger Andrzej Munk

In 2021, the border area between Poland and Belarus became a forbidden zone, three kilometers wide, where refugees found themselves brutally trapped. They had become the stakes in a political game: Belarus supposedly guaranteed free passage to the EU, but in Poland the refugees met with pushbacks, forcing them back across the border. Once in Belarus again, they were driven back towards Poland—a horrific stalemate in an inhospitable landscape of treacherous marshes.

In the Podhale region in Poland, the Halny wind blows several times a year in spring and in autumn, in cycles. It is unpredictable, so you never know if—and when—it will metamorphose into a destructive storm, transforming the picturesque mountain chains into a décor dominated by the savage performance of nature.

Such changes took place in Poland over a period of several months - from the end of 1988 to the end of January 1990? Michał Bielawski, through the prism of official and underground archives, shows the then state of mind of Poles, their fears, hopes and reflections. Film materials from the 1988-1990 period are in harmony with the photographs and diaries written by Poles at that time, as well as with the messages about the changes taking place. We observe the most important political, social and moral events of that period, confronted or reinforced by the comments of their active observers: ordinary people, politicians of the government camp and oppositionists.

A documentary tale about sport and politics under martial law. All of Poland saw the great goals of Boniek and Smolarek during the Espana '82 championships. For a moment, it was forgotten that the background of the sporting performance was martial law, censorship, an army on the streets, prisons filled with oppositionists. The performance of the players was so successful that it was called "the most beautiful series of martial law". The game is watched by interned activists of "Solidarity", sports journalists and censors, cutting out all manifestations of the opposition from television broadcasts. We also get to know the performance in Spain from the perspective of the players, trying to meet not only their ambitions but also to bear the burden of fans' expectations and regime propaganda.