By dint of that concern and because that society was willing to examine its particular reality, Solidarity could come into existence.

It was progressively more difficult to find work in the theatre, as well.

On the one hand, we had great filmic spectacles that brought in big audiences, adults as well as primary and secondary school students. On the other hand, there were attempts to create contemporary Polish film.

Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.

The difficulty of writing a good theatre play set in new reality was even greater given that the level of similitude to life that is allowed in a film would not work on the stage.

When a film is created, it is created in a language, which is not only about words, but also the way that very language encodes our perception of the world, our understanding of it.

Nevertheless, in the theatre, and in the cinema, the contemporary reality of Poland has been represented only to a minuscule degree in the last 12 years.