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A movie quintessential to Wiszniewski's artistic output. Its protagonist, Bernard Budgol, is a miner and a legendary leader of socialist labour in the 40s and 50s. Structured around a dissonance and contradiction, the film is reminiscent of a broken mirror. Budgol's utterances do not for a cohesive whole, but come into conflict with one another. His wife, children and fellow miners tend to be critical of him while the protagonist himself feels compelled to defend his legend and the rightousness of his own conduct. (FILMAFFINITY)
One of his first and the most famous undergrad shorts, which seems to forshadow the director's death. A prize winner at a film festival in Oberhausen, it does not bear any great resemblance to Wiszniewski's later films.It attempts to illustrate the subjective states of a character through expressionistic photography, hardcore jazz and associative editing.
The life of a female weaver is thrown onto the socio-political canvas of pre-war and post-war communist Poland through the use of expressive allegorical and symbolic imagery in this imaginative take on the documentary form.
A staged cinematic parable, it presents in symbolic images a painful diagnosis of Poles' sense of identity in the 1970s.
A reportage about a summer camp for art students, in which carefree youth in red ties break into song at solemn flag ceremonies and meetings. Commissioned by the Socialist Youth Association Board and a surprise for Wiszniewski fans, particularly those who are convicted about the director's aversion to contemporary political system, since it appears blantantly propagandist.
This 50-minutes long TV production, Wiszniewski's only feature film, is the story of a young worker, who is given a flat by his union commission on condition that he gets married.
The story of a miner who decides to change his life by migrating to the countryside with his wife and children.
There's no April 31 and May the 1st is a Labour Day - the most important communist holiday. A gritty morning in the city of Lodz seen through the eyes of a worker who spends it with his colleagues drinking and talking about shady businesses. He's proud of his proletarian roots, but the reality is rather bitter than sweet for him. However, he seems to be happy living in his simple world of dreams, TV programs and drinking cheap wine. The viewer is left with a dissonance between the backyard and the facade, bwetween "normal" existence and the ideology and content of TV programs.
While serving life in prison, a young man looks back at the people, the circumstances and the system that set him on the path toward his crime.
Stanley manages his boxer brother Lion but when a devastating loss in the ring leaves the pair in debt, an opportunity to recoup the cash leads to a series of misadventures that threaten to break the bond between them.