Warsaw Film Festival Spotlights ‘Brave’ Emerging Polish Directors: ‘Break the Silence and Stop the Shame’

Poland’s Warsaw Film Festival is celebrating its 40th edition, placing its bets on emerging, often debuting Polish filmmakers.

“This event often acts like a springboard,” says programming director Gustaw Kolanowski. But making a feature debut in Poland is still challenging.

“For me, this road wasn’t easy. It was difficult to meet a producer who would believe in a film that’s quiet and intimate, but also impactful,” says Monika Majorek, behind “Where Do We Begin,” where three siblings and their mother rebuild their lives after the death of their father.

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“I’ve made certain career choices to be able to tell this story and waited a long time for this opportunity. I was advised to look for some loud, controversial subject, but this film comes out of real emotions. Maybe there’s a lack of quiet voices [in Polish cinema]? Those that listen instead of speaking?”

Dominika Montean-Pańków, director of “The Crossroads,” adds: “A female director waits, on average, five or six years to make her feature debut. I’m mostly interested in the metaphysical kind of cinema, dealing with the human soul and psychology. But the market has become extremely competitive as producers are flooded with scripts from beginners and ‘old masters.’”

“Unspoken” helmer Piotr J. Lewandowski, born in Warsaw and based in Germany, argues that due to limited funding, international collaborations and co-productions are bound to become even more popular. But there is a catch. “They require angelic patience. We are talking about years of waiting,” he says.

“There’re a lot of brave films being made in Poland, which makes me very happy and I hope it won’t change. My dream is to make a film in Poland. However, when I talk to filmmakers, I hear stories similar to mine. Many are struggling with financial challenges.”

“Unspoken,” dealing with themes of sexual abuse and trauma, was “almost entirely” self-financed, he reveals.

“I don’t regret this decision, despite the struggles that came with it. It’s a very personal project. I believe such stories need to be told to help people work through their own experiences.”

Justyna Mytnik also deals with trauma and sexual violence in her debut “Wet Monday.”

“I wanted to show that sometimes, the shame experienced by a sexual violence survivor is instilled by family and friends. It’s not just the ‘bad guy’ who’s responsible for the pain.” The film will be accompanied by an impact campaign organized by the SEXEDPL foundation.

“I strongly hope we’ll make a difference,” adds producer Marta Gmosińska of Lava Films, the company behind Cannes premiere “The Girl With the Needle.” “I’m happy we’re not the only voice from our generation speaking about sexual violence and abuse, loudly and from a unique perspective. I encourage other producers and directors to break the silence and stop the shame.”

Mytnik started writing the film seven years ago – “It was a long journey” – but even with Lava Films, establishing a co-production was “tricky.” Still, following recent political changes in Poland and the ousting of right-wing populist party Law and Justice, many hope things will improve.

“Our movie was financed in the ‘old times’ and I’ve never experienced censorship. Nevertheless, I’m sure it will be easier to produce female-driven stories. Many viewers have told me we need this movie in Poland and I hope it will reach many hearts,” says Mytnik, while Majorek echoes: “Some projects that have been waiting for their turn will now see the light of day.”

In the meantime, directors also fight for more diverse casts, often featuring elderly actors. From Montean-Pańków, who hired acclaimed thespian Jan Englert in “The Crossroads” where peaceful existence of an 80-year-old is shattered by a car accident – “It was a lesson not only of filmmaking but also of life”– to Bartosz M. Kowalski whose horror “Night Silence” is set in a retirement home.

“I was told this film can’t be made. Because of the fact the cast consists mainly of elderly people, because of its subject matter,” he adds. Its lead Maciej Damięcki has since passed away. “I hope and believe he’s watching us and is proud of the film.”

“As society ages, this will be reflected in films. I’m currently working on a project about two sisters, both over 65, who live life on their own terms and share an incredible bond. I think what we’re missing nowadays is precisely that: a real connection,” notes Aneta Nowicka, who brings a doc “The Coal’s Daughter” to the fest, dedicated to women in the mining industry.

“I wanted to give them a voice, as they have been long overshadowed by miners. It was also a way to break away from my family tradition and become a director. I had to face a male film environment and their opinions that, as a first-timer, I won’t be able to make this movie,” she adds.

“I believe there’s a lack of strong female representation in global cinema, not just on the Polish scene. In documentaries, the field is still dominated by the older male generation. Independent films are difficult to make and harder to sell, but I see a need from the audience for authenticity and real stories. I think there’s hope for new artists like us to become a part of this emerging wave that values uniqueness and depth in storytelling.”

As Polish directors pursue new stories and genres, from horror to magic realism and fantasy in “Wet Monday” – “I would like to see Polish industry make films like ‘The Substance,’” says Gmosińska – Warsaw Film Festival will kick off with “Kulej. All That Glitters Isn’t Gold” by Xawery Żuławski about a legendary 1960s boxer and his wife.

“We wanted to open with a major Polish production. Ours is an international festival, but it’s firmly rooted in the Polish context. Previous biopics from Watchout Studio [which produced ‘Gods’ and ‘The Art of Loving’] were met with enthusiasm by viewers and critics, and we’re confident ‘Kulej’ will also reach these both groups,” says Kolanowski.

The festival braces for changes following the departure of its longtime director Stefan Laudyn, at the helm since 1991. It will try to “expand its industry events,” starting with the two-day KIPA Days and Warsaw Next, which aims to bridge the gap between film schools and the industry.

“The program has pivoted toward intensive script development. Our focus addresses a crucial need. Polish cinema continues to grapple with ‘auteur’ legacy, a deeply ingrained belief that directors should pen their own screenplays, regardless of their writing skills. To elevate the quality of Polish films, we need superior scripts but also a fundamental shift in how funders perceive, prioritize and resource screenplay development,” says the head of Warsaw Next, Eliza Subotowicz.

“We envision a future where our stories, though deeply rooted in Polish reality, speak a universal cinematic language. The hope is that the industry side of the festival grows even bigger, so that our participants get a chance to shine – also by pitching their projects. We want to give these filmmakers solid tools and say: ‘Here’s your shot, so use what you’ve learned in the real world.’ Simple as that.”

The Warsaw Film Festival will wrap on Oct. 20.