The 40th edition of the Warsaw Film Festival in Poland is set to showcase a strong lineup of emerging Polish filmmakers, many of whom are making their feature debuts. According to programming director Gustaw Kolanowski, this event serves as a valuable launchpad for new talent. However, breaking into the industry in Poland remains a formidable challenge.
Monika Majorek, the creator of “Where Do We Begin,” reflects on her experience, stating, “My journey was not easy. It was hard to find a producer willing to invest in a film that is both quiet and intimate yet impactful.” The film portrays three siblings and their mother as they rebuild their lives following the death of their father.
She emphasizes the career choices she made to tell this story, admitting, “I was advised to pursue a loud and controversial subject, but this film stems from genuine emotions. Perhaps Polish cinema lacks quieter voices—those willing to listen rather than just speak.”
Dominika Montean-Pańków, director of “The Crossroads,” shares insights about the struggles female directors face. “On average, a female director waits five to six years to make her feature debut. I am primarily drawn to metaphysical cinema that explores the human soul and psychology. However, the landscape has become increasingly competitive as producers receive an influx of scripts from both newcomers and established filmmakers.”
Piotr J. Lewandowski, who directed “Unspoken” and is based in Germany, highlights the rise of international collaborations due to limited funding. He cautions, though, that such partnerships demand “angelic patience,” as they can take years to materialize.
“There are many courageous films being made in Poland, which brings me great joy, and I hope this trend continues. My aspiration is to create a film in Poland. Yet, when I speak with fellow filmmakers, I hear similar stories of financial hardship.”
He notes that “Unspoken,” which addresses themes of sexual abuse and trauma, was “almost entirely” self-financed. “Despite the challenges, I do not regret this decision. It is a deeply personal project, and I believe that such narratives are essential for helping others process their experiences.”
Justyna Mytnik also tackles issues of trauma and sexual violence in her debut film, “Wet Monday.” She states, “I wanted to highlight that the shame often felt by survivors of sexual violence is frequently imposed by family and friends, not just by the perpetrator.” An impact campaign organized by the SEXEDPL foundation will accompany the film.
Producer Marta Gmosińska of Lava Films, the company behind the Cannes premiere “The Girl With the Needle,” expresses her hope for making a difference: “I’m grateful that we’re not the only voices from our generation speaking out against sexual violence and abuse, and we do so from a unique perspective. I encourage other producers and directors to break the silence and challenge the stigma.”
Mytnik reveals that she began writing the film seven years ago and describes it as “a long journey.” Despite partnering with Lava Films, securing a co-production proved to be “tricky.” However, recent political shifts in Poland have left many optimistic for the future. “Our movie was financed during the ‘old times,’ and I have not faced censorship.
Nonetheless, I believe it will become easier to produce female-driven narratives. Many viewers have told me that this film is needed in Poland, and I hope it resonates with many people,” she says, echoing Majorek’s sentiment that long-awaited projects are finally seeing the light of day.
Directors are also advocating for more diverse casts, often including older actors. Montean-Pańków, who cast the esteemed Jan Englert in “The Crossroads,” describes the film’s exploration of how an 80-year-old’s peaceful existence is shattered by a car accident as “a lesson not just in filmmaking but also in life.” Bartosz M. Kowalski, whose horror film “Night Silence” is set in a retirement home, shares a similar vision.
“I was told this film couldn’t be made due to its predominantly elderly cast and sensitive subject matter,” he states. Sadly, lead actor Maciej Damięcki has since passed away. “I hope he is watching us and feels proud of the film.”
As society ages, this evolution will inevitably be reflected in cinema. Aneta Nowicka, bringing her documentary “The Coal’s Daughter” to the festival, is currently working on a project about two sisters over 65 who live life on their own terms and share an extraordinary bond. She believes that genuine connections are often missing in contemporary narratives.
“I aimed to give voice to women who have long been overshadowed by male miners in the industry. This project also allowed me to break away from my family’s traditions and pursue a directing career. I faced skepticism from the male-dominated film industry, which questioned my ability to create this film as a first-timer,” she adds.
Nowicka expresses her concerns about the lack of strong female representation in global cinema, not just in Poland. “Documentaries remain predominantly shaped by older men. Independent films face serious challenges in both production and distribution, yet audiences are craving authenticity and genuine stories. I see hope for emerging artists like us to be part of this new wave that values uniqueness and depth in storytelling.”
Magdalena Ewa Pięta, who directed “Clearing,” shares her desire to see more women in directing roles. She describes the number of female-directed features at this year’s WFF as an “absolutely crazy and wonderful phenomenon,” expressing hope that it signals a new era.
Through her work, she aims to question the dynamics of relationships between men and women and examine the world women leave behind. “We used the framework of a crime story to address social and individual crises and the fluidity of social roles. The concepts of femininity and masculinity are intricately intertwined in this film.”
As Polish directors continue to explore new narratives and genres—including horror, magic realism, and fantasy in films like “Wet Monday”—the Warsaw Film Festival will kick off with “Kulej. All That Glitters Isn’t Gold,” directed by Xawery Żuławski, which tells the story of a legendary boxer from the 1960s and his wife.
“We wanted to launch the festival with a major Polish production. While our festival has an international focus, it is firmly rooted in Polish culture. Previous biopics from Watchout Studio, such as ‘Gods’ and ‘The Art of Loving,’ received enthusiastic responses from both viewers and critics. We are confident that ‘Kulej’ will also resonate with these audiences,” Kolanowski remarks.
With the departure of long-time director Stefan Laudyn, who led the festival since 1991, changes are anticipated. The festival will aim to “expand its industry events,” starting with KIPA Days and Warsaw Next, designed to connect film schools with the industry.
“The program has shifted toward intensive script development to address a pressing need. Polish cinema struggles with the ‘auteur’ legacy, a deeply rooted belief that directors should write their own screenplays regardless of their writing proficiency.
To raise the quality of Polish films, we require excellent scripts and a fundamental change in how funders perceive and prioritize screenplay development,” explains Eliza Subotowicz, head of Warsaw Next.
“We envision a future where our stories, while deeply rooted in Polish experiences, communicate a universal cinematic language. The aim is for the industry segment of the festival to grow, allowing participants to shine—especially through project pitching. We want to equip these filmmakers with the necessary tools and say, ‘Here’s your opportunity, so apply what you’ve learned in the real world.’ It’s that straightforward.”