The Museum is open 11:00 – 19:00
Cinema is closed now
The Museum is open 11:00 – 19:00
Cinema is closed now
The Wedding.
A film and lecture by Michał Oleszczyk
29.11.2026 15:00
On this St. Andrew’s Day afternoon, we invite you to two screenings featuring the most famous “Andrzej”s of Polish cinema! Throughout their creative careers, Andrzej Wajda and Andrzej Żuławski maintained a dynamic, complex relationship and an unconventional artistic dialogue.
Wajda was a role model for Żuławski (Żuławski’s master’s thesis was devoted to Kanal), a mentor (thanks to his work as an assistant on Wajda’s sets, notably on Ashes), and ultimately also an antagonist, when both fought for the presence of their cinema on the international stage (both Żuławski’s Possession and Wajda’s Man of Iron were screened in the 1981 Cannes Film Festival competition). Many of their films come in pairs. Both adapted Dostoevsky’s *Demons* in France (Wajda in The Possessed, Żuławski in The Public Woman). Both drew on the same author’s *The Idiot* (Wajda in Nastazja, Żuławski in his earlier Mad Love) and both made films about young working-class women experiencing spiritual and physical torment in Poland during the transition period, set to the rhythm of Andrzej Korzyński’s music (Szamanka vs. Miss Nobody).
Wajda was a role model for Żuławski (Żuławski’s master’s thesis was devoted to Kanal), a mentor (thanks to his work as an assistant on Wajda’s sets, notably on Ashes), and ultimately also an antagonist, when both fought for the presence of their cinema on the international stage (both Żuławski’s Possession and Wajda’s Man of Iron were screened in the 1981 Cannes Film Festival competition). Many of their films come in pairs. Both adapted Dostoevsky’s *Demons* in France (Wajda in The Possessed, Żuławski in The Public Woman). Both drew on the same author’s *The Idiot* (Wajda in Nastazja, Żuławski in his earlier Mad Love) and both made films about young working-class women experiencing spiritual and physical torment in Poland during the transition period, set to the rhythm of Andrzej Korzyński’s music (Szamanka vs. Miss Nobody).
This St. Andrew’s Day, we’ll take a closer look at their first, unexpected duet…
Before both films, Michał Oleszczyk (Faculty of “Artes Liberales,” University of Warsaw) will give a lecture.
Separate tickets are required for the screenings.
Separate tickets are required for the screenings.
In that same year, 1972, when Andrzej Żuławski attempted to release the eponymous Devil from the box of Polish history, Andrzej Wajda produced an outstanding adaptation of Stanisław Wyspiański’s play about national spectres, class distrust, and the phantom of social solidarity that can never be realized.
The wedding of an intellectual and a peasant girl in a Bronowice cottage, sustained in a hallucinatory rhythm thanks to the music of Stanisław Radwan, cinematography by Witold Sobociński, and editing by Halina Prugar-Ketling (awarded the Platinum Lions in 2026 at the FPFF in Gdynia) create a one-of-a-kind performance, deeply physical and intellectual at the same time. Wojciech Pszoniak (Jakub from The Devil) plays a dual role—that of the Journalist and Stańczyk.
[Michał Oleszczyk]
The wedding of an intellectual and a peasant girl in a Bronowice cottage, sustained in a hallucinatory rhythm thanks to the music of Stanisław Radwan, cinematography by Witold Sobociński, and editing by Halina Prugar-Ketling (awarded the Platinum Lions in 2026 at the FPFF in Gdynia) create a one-of-a-kind performance, deeply physical and intellectual at the same time. Wojciech Pszoniak (Jakub from The Devil) plays a dual role—that of the Journalist and Stańczyk.
[Michał Oleszczyk]