
Acting
Aleksander Bardini (17 November 1913 – 30 July 1995) was a Polish actor, theatre director, artistic director, and educator.Born in Łódź to a Jewish family, after finishing high school in 1932 he studied violin and performed in the string quartet of the Jewish Music Association as well as in a Jewish cabaret. In 1935 he graduated from the Acting Department of PIST in Warsaw.He worked as an actor at the Municipal Theatre in Wilno (Vilnius) (1935–1936) and at the Polish Theatre in Warsaw (1938). In 1939 he joined the COP Travelling Theatre. For the 1939/40 season he was engaged by the Municipal Theatres in Lwów (Lviv), where he remained until 1941, working as both actor and director.During the German occupation he was initially in the Lviv ghetto, then hid in a private apartment. He returned to the Polish Dramatic Theatre in Lviv in 1944, where he served as a member of the artistic council, director, actor, and head of the acting studio until the company’s evacuation in August 1945.In the 1945/46 season he moved with the Lviv ensemble to the Municipal Theatre in Katowice. He had planned to join the Polish Army Theatre in Łódź for the 1946/47 season, but after the Kielce pogrom in July 1946 he decided to emigrate. Between 1946 and 1950 he lived in the USA, Canada, and West Germany, working manual labour and collaborating with the Jewish theatre in Munich.He returned to Poland in 1950. Until 1957 he worked as a director at the Polish Theatre in Warsaw. His greatest achievement of that period was the first postwar staging of Adam Mickiewicz’s Dziady (Forefathers’ Eve). He also occasionally appeared as an actor.In the 1957/58 season he was artistic consultant and director at the Stefan Jaracz Theatre in Łódź. From 1958 to 1960 he served as director and artistic manager of the Ateneum Theatre in Warsaw. Between 1960 and 1964 he was an actor and director at the Contemporary Theatre (Teatr Współczesny) in Warsaw, before returning to the Polish Theatre for the 1964/65 season. Afterwards he worked as a freelance director, staging productions in Poland and abroad.He also directed opera productions (he was a great lover and connoisseur of music). He frequently collaborated with Polish Television, hosting highly popular music programmes featuring amateurs.A talented and very popular educator, from 1950 to 1982 he taught at the Acting, Variety, and Directing Departments of the Warsaw State Theatre School (later also in Łódź). He became associate professor in 1950 and full professor in 1966. He also taught at the Warsaw Academy of Music, co-directed and lectured at summer music courses in Austria and the Netherlands, at the drama department of the University of Georgia (USA), and at the music-drama school in Stockholm.He held many positions in ZASP (Polish Actors’ Association), ZAiKS (authors’ society), and the Jewish Historical Institute (member of the scientific council).He was the father of Maria Bardini, editor and producer of Television Theatre productions.He died in Warsaw and was buried in the catacombs at the Old Powązki Cemetery.

Polish immigrant Karol Karol finds himself out of a marriage, a job and a country when his French wife, Dominique, divorces him after six months due to his impotence. Forced to leave France after losing the business they jointly owned, Karol enlists fellow Polish expatriate Mikołaj to smuggle him back to their homeland.

1982, Poland. A translator loses her husband and becomes a victim of her own sorrow. She looks to sex, to her son, to law, and to hypnotism when she has nothing else in this time of martial law when Solidarity was banned.

Véronique is a beautiful young French woman who aspires to be a renowned singer; Weronika lives in Poland, has a similar career goal and looks identical to Véronique, though the two are not related. The film follows both women as they contend with the ups and downs of their individual lives, with Véronique embarking on an unusual romance with Alexandre Fabbri, a puppeteer who may be able to help her with her existential issues.
Juliusz Starzewski goes to Rome to seek justice on behalf of his father.

Dorota Geller, a married woman, faces a dilemma involving her sick husband's prognosis. Her husband's doctor, who believes in God, sweared about it in vain.

As high school students put on a politically-engaged school play, tensions begin to rise between them and their headmaster. The conflict seems to mirror the social situation in the 1980s Poland.

Five short stories. (1) “Czas przybliża, czas oddala” – Edward recalls his unfulfilled love for Anna and, years later, writes to her sister Zofia, mistaking her for Anna. (2) “Krąg istnienia” – A girl falls for Wacek at an ice rink; pressured by family, she marries a soap manufacturer. (3) “Paryż 1945” – A Polish refugee soldier and an American woman share a fleeting wartime bond before she leaves at dawn. (4) “Stary profesor” – Two men seek an old professor to fulfill a dying prisoner’s last wish; Roger impersonates a former pupil. (5) “Nauczycielka” – Neglected wife Zofia accepts film tests, only to find the director seeks an ordinary woman.
This sumptuously photographed period drama is set in 1791 Vienna. Maximilian Bardo, an opportunistic 18-year old Viennese man with aspirations to rise above his bourgeois upbringing, looks for a chance to shoehorn himself into the nobility. His hopes lead him to the castle of a wealthy inventor, Alexander Plant. It is here that a strange story is played out, as Maximilian, full of naive illusions and innocent ideals of what it means to be wealthy and noble, quickly loses his innocence. Falling prey to the jaded aristocrats in residence, he is cruelly initiated into their decadent games.
After returning to Poland, the painter Aleksander Gierymski encounters a lack of understanding of his works.

A famous opera singer comes to his hometown in Poland, where he loses his voice.
