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.

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

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.

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

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.