„Dorosłe dzieci mają żal”. O pewnej tendencji młodego kina polskiego

  1. Krzysztof Kornacki



The author concentrates his attention on the movies made by polish filmmakers of “the 60/70 generation,”who debuted at the end of the 20th century (Koszałka, Barczyk, Wojcieszek, Szumowska, Piekorz, Lechki and others). Psychological dramas which they have produced ― in a traditional authors formula (script + direction) ― were full of autobiographical motifs and (for some authors) have an autotherapeutic character. In movies of this generation dominates the issue of a child in the aspect of psychological trauma related to upbringing and not to the magic of childhood. A great number of the pictures of the “young cinema” sound like an alarming signal ― children were (are) ill-mannered, without an elementary sense of security, empathy, in a situation of real or mental orphanhood, repeatedly with the use of pedagogy of violence. Ill socialization results in the following immaturity, life loss, escape from responsibility, phobias and fears of characters. In light of bad experiences from the past and personality disorders characters are afraid to set up a family or to have children. The model example of these issues ― and a kind of manifesto ― is Pręgi directed by Piekorz. At the end of the first decade of the 21st century there appeared movies including a motif of reconciliation with parents (pictures of Lechki, Dębska, Konopka) and even apotheosis of a family (movies made by Marcin Wrona). The weakness of this cinema can be seen in the lack of a wider topical perspective (creators usually narrate personal problems), social conservatism and excess of melodrama (as a consequence of overestimating emotions in the characters’ construction).

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Studia Filmoznawcze

33, 2012

Pages from 145 to 161

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