A novelty in Polish filmmaking was that it was possible to find funds for a big production. However, at the same time, the state budget committed less and less money to filmmaking.

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

In the same period, Polish literature also underwent some significant changes. From social-political literature, which had a great tradition and strong motivation to be that way, Polish literature changed its focus to a psychological rather than a social one.

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.

The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry. There is no legislation concerning filmmaking. And, there is no legislation on television that would be beneficial to filmmaking.

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.

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