An intelligence agent's murder bring upon a national investigation into a spy organisation called Korn.

Returning from Rome, Warsaw writer Wacław Kisielecki's car breaks down late one evening on a country road, forcing him and his chauffeur, Konstanty, to seek lodging at a nearby manor house. Its owner is a young man, Jan, who has been managing the dilapidated estate since his mother's death. All that remains of the former estate are the manor house, a vast orchard, and two servants: Stanisław, the caretaker, and his beautiful young wife, Faustyna, who runs Jan's household.

The young mathematician David dedicated his whole life to the study of prime numbers. Getting to know his distant cousin, Joachim, causes the man to gradually reevaluate his priorities. This meeting will have a huge impact on both of them and will provoke a long discussion on the mysterious world order, the meaning of life and its passing.

The story of male friendship, vitality and the joy of living, even after turning 60 years old. When one of the three friends is taken to hospital, the others are there for him.

"Ladybug," "Silent" and "Cobra" are 19-year-old young men who have everything, but want even more. They are smugglers working for "Black" - the head of a Szczecin smuggling gang. Unexpectedly, a certain Chmielewski, the richest man in Szczecin and former boss of "Black", gives up his illegal business. The good "deals" with customs officials come to an end. The boys decide that they will continue to manage on their own. However, in order to continue doing "business", they need to hire someone with a "clean" passport. The choice falls on Robert - the class primer.

Coming of age story of four girls living in the same poor district of Warsaw just before the outbreak of World War One.

The movie is inspired by writer-director Márta Mészáros' own childhood. The film is a grim reminder of horrible days under Stalinist period when several innocent people were persecuted for no fault. A good film which allow people to know how people in Europe were tortured before second world war by dictators and authoritarian regimes.

1997 film by Olaf Lubaszenko

2017 film directed by Michał Tylka

Emotional adventures of a 40-year-old Warsaw businesswoman whose life lacks nothing but a man. One day, the protagonist, busy running a large advertising agency, faces a life choice: her ex-husband, who returns from the US after ten years, her current lover, an architect, or her former love from school...

Released from prison after five years, con-artist Szu is sent packing by his young wife; he heads for the town of Lutyn where he runs a con and attracts the interest of Jurek, a young cab driver who imagines himself a great grifter. Szu ("Sharp") teaches Jurek a few tricks enabling the young man to win some money in Wroclaw, then Sharp departs with Jola, a prostitute who offers him a mark. How that plays out, Jurek's determination to win big, Sharp's cold calculations, and the wages of sin await.

Freed Polish soldiers are trapped in a small town in Germany during the last days of World War II. After a doctor's daughter is raped by a concentration camp worker, the Poles allow her and her father to stay in the house that is their temporary quarters. While waiting to be repatriated, the war-weary group is forced to fight some German soldiers who invade the town. The war brings out conflicting emotions of the Poles who find themselves trapped in the house and once again under fire from the enemy.

Imre Nagy led Hungary's 1956 revolution and was executed after its defeat. His name remained taboo for some 30 years, his political activity the subject of controversy and heated debate – up until his complete personal rehabilitation and that of his political legacy. THE UNBURIED MAN was among the first gestures to pay tribute to him and grant him a public “appearance”. The film, however, is not set in the tumultuous days of the revolution but instead depicts the last period of Nagy’s life, from his time inside his refuge at the Yugoslav Embassy up to his secret execution, in what proves to be a singularly intimate encounter with a key personality of 20th-century European history.

Anna is a stylist in Budapest. One day at a restaurant, she thinks she recognizes Marie Aubier, a 22-year-old French girl, her own daughter. In 1957, in Vienna, she had entrusted it to a family, the time to repatriate to Budapest the body of her deceased husband. But she was arrested and, when she was released from prison a year later, the family disappeared with her daughter. Anna's conviction is now turning into certainty. She will go to Paris to find Marie

This drama follows the dilemma of a young, unwillingly pregnant wife who gives her child up for adoption by a businesswoman. Anna doesn't need another mouth to feed. She can barely afford to care for the two she already has so when she discovers that she is six weeks pregnant she readily accepts the cash offer from Terez, her tough boss at the store where she works. If she will isolate herself throughout the pregnancy, secretly bear the child and immediately allow Terez to sign for it, Anna will receive $50,000. Most of the story then focuses upon Anna's emotional processes as she evaluates her choice. Included are dream segments and shots an unborn baby in the womb.

This movie is based on the life of Saint Edith Stein. She was a German nun of Jewish descent who had converted to Catholicism. Much of her early life was spent as an outspoken academic. There, according to the movie, she feuded with Joseph Heller, a fellow professor with right wing beliefs. In 1933, after Jews were no longer allowed to teach, she became a nun in the Spartan-like Carmelite order. But when World War II heated up, Heller, who had become an important Nazi official, took his revenge. He had her deported to Auschwitz

On his return from America, András simply cannot find his place: he has lost his wife, friends and job, and he cannot even find his way back to his former great love. Eventually, as a surrogate father, he takes in a wild young girl (Zsuzsa Czinkóczi) and a particularly strong bond is formed between these two rootless people. Márta Mészáros’s remarkable movie starring Jan Nowicki and Anna Karina is about displacement, loneliness and attachment.

Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.