The social and independence ferment triggered in the fall of 1980 by Solidarity created an opportunity for dialogue between the nation and the ruling communists. Dialogue, not force. As always, students quickly joined the "rebellion and pressure." They wanted autonomy for Polish universities and their own independent representation, as well as sovereignty, without the "leading role of the party." When these dreams were not fulfilled, at the beginning of 1981, students at the University of Łódź went on their first long strike, which ended in success, and when martial law was declared in December 1981, the same students rushed to protest in the form of an occupation strike, which ended in pacification. The film consists of statements by the protagonists and witnesses of those events, archival footage, and staged sequences.

Story of 11-year old Tadeusz, a prisoner in a children's concentration camp in Nazi-occupied Poland.

An industrialist's wife announces that she is leaving him, but returns shortly after and tells him that she will only stay with him for appearances. This causes the industrialist to rethink his life choices.

After the war, Stefan cannot go back to a normal life.

Based on a true story of a Polish musician who survived the concentration camp only because he could play on the accordion the title melody.

The final stage of the great artist's life, a stage in which Witkacy decides to destroy himself. A growing sense of danger, the futility of all actions, and fear of what is to come accompany him constantly during his escape from Warsaw to the East at the outbreak of World War II. Everyday facts and events are intertwined in the film with reminiscences and images from his life, supported by the artist's inner monologue. The style of narration and the way of filming make the film a poignant study of the writer's inner disintegration. By emphasizing the painterly quality of the image and introducing dreamlike themes, Kluba captures on screen the characteristics of both Witkacy's playwriting and painting.

The screening of a movie "Daybreak" at the "Liberty" Cinema is interrupted by an unusual event - actors come to life on the screen, start conversations among themselves, draw the audience into them. Crowds gather around the cinema, the relevant authorities and services wonder what to do in this complicated situation. Also arriving is the censor, a man reaching his fifties, a one-time literary critic and journalist. The line between fiction and reality begins to blur.

Unconventional pedagogical methods of a new teacher raise concerns of the provincial school's principal.

Ignacy Jan Paderewski returns to Poland. A journalist who is supposed to describe his arrival is called to the editorial office.

Poland, 1945. Crowds of repatriates are traveling from east to west in search of new homes and loved ones lost during the war. At one of the train stations, a young woman, Hanna Powiłańska, sits among the crowd of displaced persons. The girl recalls a story of turbulent love. Before the war, at a carnival ball, she met the handsome Lech Oleszkiewicz. In September, war broke out. Hanna meets the engineer again and spends the night with him. In the morning, the man tells her that he is married. Hanna breaks off the relationship.