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.

In the first years after the systemic transition, our screens showed American entertainment that had not been available before, or had been available only sporadically.

Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre.

Language also encodes our past. We want to know who we are. To know who we are, we have to know who we used to be. Consequently, our literature, written in the past, anchors us in that past.

Films made in the spirit of the past continued to be made.

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.

On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.