Cinemas gained new young audiences who wanted films made for them.

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.

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.

As I said earlier, there are no writers who could create a literary vision of the new reality.

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.

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

One might have thought that the most significant change in the film industry that would come about with a transition from the communist economy to capitalism would fundamentally concern the sources of funding.