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Documentary about the lives of three generations of residents of Warsaw’s Wola district.
Kazimierz Karabasz visits circles of amateur photographers in small towns (most of the photographs were taken in Włodawa) and listens to their stories about the town, its inhabitants and photographing their everyday life. The young people, who are active at community centres, show the documentarian what role photography plays in their lives and how it influences their perception of their surroundings: places and people. Photography thus becomes a school for looking, seeing and developing sensitivity. As it turns out, it is not always the form and workshop that are the most important.
Pigeon breeders (men mostly) are a special kind of enthusiasts. Their hobby includes an element of competition – a long-distance race of carrier pigeons.
A documentary depicting life in Targówek, a deprived and crime-affected district of postwar Warsaw, where reconstruction and cultural development projects have failed to materialize.
The street poll proves that the memory of Nowa Huta has faded in the Poles' consciousness. The documentary filmmaker and his team decided to seek out the heroes of those events from 1949-1954, from the beginning of the works to the smelting of the first pig iron from the first furnace.
A documentary about a group of Warsaw tram workers who moonlight in the city orchestra at night.
A documentary depicting the Warsaw district of Powiśle where time has stopped. One of several films made by Kazimierz Karabasz included in the "black series" of Polish documentaries. Featuring a commentary typical for documentaries of the second half of the 1950s, it is distinguished by penetrating observation and lyricism.
Examines the hopes and aspirations of a group of 18-year-old girls following their graduation from a college in Warsaw.
A portrait of a traveling circus.
A lonely man wanders the streets of contemporary Warsaw. He reads the daily press, observes women in a beauty salon and follows the action on a film set. In each of the places he is just an observer, not a protagonist.