The Museum is open 11:00 – 19:00
Cinema is closed now
The Museum is open 11:00 – 19:00
Cinema is closed now
ANOTHER STORY: Polish Shorts
HER DOCS FILM FESTIVAL
02.10.2026 18:00
A still from the film “Grain” directed by Teresa Tyszkiewicz
Screening of Polish short films. A Q&A will follow the screening.
Day By Day (dir. Irena Kamieńska, 1988, 17')
Two twin sisters who, as young women, believed in the promise of emancipation through work find themselves, after four decades of hard labour, struggling with ruined health and life on the brink of poverty. Juxtaposing their memories with propaganda images of the “working woman,” Irena Kamieńska exposes the bitter gap between the ideological promise of emancipation and the price they were made to pay for it.
24 Hours of Jadwiga L. (dir. Krystyna Gryczełowska, 1967, 14')
Jadwiga L. works the night shift at a factory and, upon returning home, immediately begins another: caring for her children and running the household. Through the rhythm of clocks, machines and repetitive gestures, Krystyna Gryczełowska’s film reveals the invisible burden of a woman’s life, in which the day never seems to end.
Forced Response (dir. Jolanta Marcolla, 1976, 2')
The camera provokes passers-by into reacting, then repeats a single gesture until an ordinary action begins to feel almost absurd. In this brief experiment, Jolanta Marcolla explores how film does not simply record reality, but can actively shape it through the act of filming and editing.
Drawing TV (dir. Ewa Partum, 1976, 6')
Ewa Partum draws directly onto a television screen, intervening in the official image of reality broadcast by Poland’s state-controlled media. Her simple yet radical gesture becomes both an act of resistance to propaganda and an experiment exploring the boundaries and materiality of the television image.
Relative Similarities III (dir. Izabella Gustowska, 1980-81, 9')
Grain (dir. Teresa Tyszkiewicz, 1980, 11')
Teresa Tyszkiewicz turns her own body into a site of confrontation, desire and experimentation, testing the boundaries between self and the surrounding world. Blending dirt, pleasure, banality and luxury with abstract imagery, Grain becomes a visceral exploration of female corporeality and sexuality.
Symptoms (dir. Ewa Zarzycka, 1980, 8')
Two characters engage in an absurd conversation about the future of art, wondering whether film and photography might already be approaching their end. In this Dadaist parody of silent cinema, Ewa Zarzycka humorously challenges an art form that becomes so absorbed in analysing its own medium that it loses sight of the world beyond it.
Mine (dir. Natalia Brzozowska, 1947, 10')
In the dark depths of the mine, workers confront the physical demands of their labour, the relentless rhythm of machinery and constant danger, while their loved ones wait anxiously above ground. Wordless and intensely expressive, Mine transforms a documentary about labour into a powerful meditation on the human body, fear and the limits of endurance.
Age rating: 16+
Everyone Knows Who Is Behind Whom (dir. Maria Zmarz-Koczanowicz, 1982, 6')
In a huge queue, a symbol of everyday life in early-1980s Poland, snippets of casual conversations reveal the tensions, absurdities and invisible rules governing life in a time of scarcity. Zmarz-Koczanowicz transforms the mundane act of waiting into a surreal portrait of a society in which everyone knows who stands behind whom.
In a huge queue, a symbol of everyday life in early-1980s Poland, snippets of casual conversations reveal the tensions, absurdities and invisible rules governing life in a time of scarcity. Zmarz-Koczanowicz transforms the mundane act of waiting into a surreal portrait of a society in which everyone knows who stands behind whom.
Beginning (dir. Dorota Kędzierzawska, 1983, 6')
To the rhythm of machines and repetitive gestures, women work in a textile factory in Łódź, while the sound of a crying child can be heard off-screen. When the shift ends, one of them rushes home, beginning another invisible part of her day – caring for her child.
Day By Day (dir. Irena Kamieńska, 1988, 17')
Two twin sisters who, as young women, believed in the promise of emancipation through work find themselves, after four decades of hard labour, struggling with ruined health and life on the brink of poverty. Juxtaposing their memories with propaganda images of the “working woman,” Irena Kamieńska exposes the bitter gap between the ideological promise of emancipation and the price they were made to pay for it.
24 Hours of Jadwiga L. (dir. Krystyna Gryczełowska, 1967, 14')
Jadwiga L. works the night shift at a factory and, upon returning home, immediately begins another: caring for her children and running the household. Through the rhythm of clocks, machines and repetitive gestures, Krystyna Gryczełowska’s film reveals the invisible burden of a woman’s life, in which the day never seems to end.
Forced Response (dir. Jolanta Marcolla, 1976, 2')
The camera provokes passers-by into reacting, then repeats a single gesture until an ordinary action begins to feel almost absurd. In this brief experiment, Jolanta Marcolla explores how film does not simply record reality, but can actively shape it through the act of filming and editing.
Drawing TV (dir. Ewa Partum, 1976, 6')
Ewa Partum draws directly onto a television screen, intervening in the official image of reality broadcast by Poland’s state-controlled media. Her simple yet radical gesture becomes both an act of resistance to propaganda and an experiment exploring the boundaries and materiality of the television image.
Relative Similarities III (dir. Izabella Gustowska, 1980-81, 9')
Grain (dir. Teresa Tyszkiewicz, 1980, 11')
Teresa Tyszkiewicz turns her own body into a site of confrontation, desire and experimentation, testing the boundaries between self and the surrounding world. Blending dirt, pleasure, banality and luxury with abstract imagery, Grain becomes a visceral exploration of female corporeality and sexuality.
Symptoms (dir. Ewa Zarzycka, 1980, 8')
Two characters engage in an absurd conversation about the future of art, wondering whether film and photography might already be approaching their end. In this Dadaist parody of silent cinema, Ewa Zarzycka humorously challenges an art form that becomes so absorbed in analysing its own medium that it loses sight of the world beyond it.
Mine (dir. Natalia Brzozowska, 1947, 10')
In the dark depths of the mine, workers confront the physical demands of their labour, the relentless rhythm of machinery and constant danger, while their loved ones wait anxiously above ground. Wordless and intensely expressive, Mine transforms a documentary about labour into a powerful meditation on the human body, fear and the limits of endurance.
Age rating: 16+
