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.

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.

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

In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.

It turned out that the country was helpless in the face of a new reality.

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.

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