{"id":21955,"date":"2026-09-18T21:50:52","date_gmt":"2026-09-18T19:50:52","guid":{"rendered":"https:\/\/instytutpolski.pl\/newyork\/?p=21955"},"modified":"2026-09-19T17:34:48","modified_gmt":"2026-09-19T15:34:48","slug":"andrzej-wajda-100-retrospective-at-film-forum","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/","title":{"rendered":"Andrzej Wajda 100: Retrospective at Film Forum"},"content":{"rendered":"\n
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Friday, October 2 \u2013 Thursday, October 22
Film Forum<\/a><\/strong>
209 West Houston St. West of 6th Ave.<\/p>\n\n\n\n

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\u201cAndrzej Wajda was one of the greatest filmmakers we\u2019ve ever had. His craftsmanship, his fearless commitment to the truth, his deep love for his homeland, his obsessive passion for cinema\u2014you can feel it all in every frame and every cut of every picture he ever made. Wajda left behind one of the most formidable bodies of work in the history of the art form. He was a true master.\u201d<\/strong>
\u2013 Martin Scorsese<\/p>\n\n\n\n

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Commemorating the centennial of the great Polish director Andrzej Wajda (1926\u20132016), one of Central and Eastern Europe\u2019s most politically provocative postwar filmmakers. This three-week, 25-film retrospective includes new 4K restorations of Ashes and Diamonds<\/em>, Kanal<\/em>, A Generation<\/em>, Man of Marble<\/em>, Man of Iron<\/em>, Korczak<\/em>, and much more. The program offers an opportunity to encounter Wajda\u2019s cinema anew and to consider its enduring explorations of history, memory, identity, politics, and the individual caught within forces larger than themselves.<\/p>\n\n\n\n

Over a career spanning more than six decades, Andrzej Wajda transformed the language of Polish cinema, chronicling the country\u2019s political and social upheavals while bringing its stories to audiences around the world. Wajda\u2019s work continues to stand as a vital record of its time, and as a body of cinema whose questions remain deeply relevant today. <\/p>\n\n\n\n

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\u201cA film of tremendous importance. The whole Polish cinema began with it.\u201d<\/strong>
\u2013 Roman Pola\u0144ski<\/p>\n\n\n\n

\u201cAt last real life has been glimpsed on screen rather than stale pap.\u201d<\/strong>
\u2013 Antoni Bohdziewicz<\/p>\n<\/div>\n\n\n\n

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Generation<\/strong><\/a><\/em><\/h4>\n\n\n\n

Andrzej Wajda \/ Pokolenie<\/em> \/ 1955 \/ 87min \/ 35mm<\/p>\n\n\n\n

Friday, October 2 at 12:30 PM
Saturday, October 3 at 4:20 PM
Sunday, October 4 at 12:40 PM
Monday, October 12 at 12:20<\/strong> PM<\/strong><\/p>\n\n\n\n

Starring Tadeusz \u0141omnicki, Urszula Modrzy\u0144ska, Tadeusz Janczar<\/p>\n\n\n\n

Breaking free from the rigid aesthetics of Stalin-mandated socialist realism, Wajda introduced a dynamic, morally complex new approach to filmmaking that reflected the experiences of a young generation shaped by the war. In his bold debut film, the first in his \u201cWar Trilogy,\u201d Wajda dramatized the Warsaw Ghetto Uprising with an expressionistic style that evokes American Film Noir. A delinquent teen who heroically joins the Resistance\u2014partly inspired by his love for one of the movement\u2019s leaders\u2014is the ostensible protagonist, but the more fascinating character is the reluctant and tortured Jasio (Tadeusz \u0141omnicki). One critic wrote, \u201cIt\u2019s a fair guess that the inner world to which Wajda personally felt most attuned was that of Jasio Krone\u2014edgy, troubled, bewildered, switching from one extreme to the other.\u201d<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cA remarkable experience in a number of ways… first of all for its tragic power, its obsessive picture of a nightmare world, its insistence on the human dramas continuing within the chaos.\u201d<\/strong>
\u2013 Lindsay Anderson<\/p>\n\n\n\n

\u201cIf this remarkable film is a true indication of his talent, Wajda should soon become as talked about and admired by U.S. art theatre patrons as Bergman and Fellini.\u201d<\/strong>
\u2013 Richard Gertner, Motion Picture Daily<\/em><\/p>\n\n\n\n

\u201cMaybe KANA\u0141 will mark the beginning of the truth being told about history, about ourselves, about a whole generation. Perhaps it will prove to be art as a warning, art of purgation, a triumph of the heroism of life over the heroism of death.\u201d<\/strong>
\u2013 Aleksander Jackiewicz<\/p>\n<\/div>\n\n\n\n

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Kana\u0142<\/em><\/a><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ 1957 \/ 91min \/ 35mm<\/p>\n\n\n\n

Friday, October 2 at 2:30 PM
Saturday, October 3 at 6:20 PM
Sunday, October 4 at 2:40 PM
Tuesday, October 6 at 12:15 PM
Monday, October 12 at 2:20<\/strong> PM<\/strong><\/p>\n\n\n\n

Starring Teresa I\u017cewska, Tadeusz Janczar, Wienczys\u0142aw Glinski<\/p>\n\n\n\n

Winner Cannes Film Festival \u2013 Special Jury Prize, 1957<\/strong>. During the celebrated four-minute long shot that introduces us to the beleaguered underground of fighters in Warsaw resisting the Nazi occupation in 1944, the narrator tells us, \u201cThese are the heroes of the tragedy. Watch them closely for these are the last hours of our lives.\u201d The centerpiece of Wajda\u2019s \u201cWar Trilogy,\u201d and the first Polish film to depict the Warsaw Uprising, Kana\u0142<\/em> follows the fighters through a hopeless but heroic journey that will take them into the city\u2019s sewer system, the only place they can survive. Winner of a Special Jury Prize at Cannes (along with Bergman\u2019s The Seventh Seal<\/em>) and became the first of Wajda\u2019s films to open in the U.S. when it premiered at Dan Talbot\u2019s New Yorker Theater in 1961.
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\u201cI saw ASHES AND DIAMONDS for the first time in 1961. And even back then, during that period when we expected to be astonished at the movies, when things were happening all over the world, it shocked me. It had to do with the look, both immediate and haunted, like a nightmare that won\u2019t stop unfolding; the sense of maddening insanity and absurdity, the tragedy of political infighting on the brink of peace and coming of age during wartime; and the beauty of the lead actor, Zbigniew Cybulski.\u201d<\/strong>
 \u2013 Martin Scorsese<\/p>\n\n\n\n

\u201cFabulous. It\u2019s a beautiful movie. It was an extraordinary movie for many reasons. It\u2019s less known than it should be, but it\u2019s a beauty.\u201d<\/strong>
\u2013 Francis Ford Coppola<\/p>\n\n\n\n

\u201cHauntingly fascinating, brilliantly conceived, and haunting. Packs a great deal of cinematic and just plain raw graphic power.\u201d<\/strong>
 \u2013 Bosley Crowther, The New York Times<\/em><\/p>\n\n\n\n

\u201cWajda\u2019s style is in part naturalistic, in part symbolic. He handles scenes of violence with a furious exactitude and moments of tenderness with a delicacy that never lunges into sentimental excess.\u201d<\/strong>
\u2013 Herald Tribune<\/em><\/p>\n<\/div>\n\n\n\n

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Ashes and Diamonds<\/strong><\/a><\/em><\/h4>\n\n\n\n

Andrzej Wajda \/ Popi\u00f3\u0142 i diament<\/em> \/ 1958 \/ 103min \/ 35mm<\/p>\n\n\n\n

Friday, October 2 at 4:40 6:50 PM
Saturday, October 3 at 8:30 PM
Sunday, October 4 at 4:50 PM \u2013 35mm
Monday, October 5 at 12:30 PM
Wednesday, October 7 at 9:00 PM \u2013 35mm
Monday, October 12 at 4:30 PM
Thursday, October 22 at 5:50 PM<\/strong><\/p>\n\n\n\n

Starring Zbigniew Cybulski, Ewa Krzy\u017cewska, Wac\u0142aw Zastrze\u017cy\u0144ski<\/p>\n\n\n\n

In the spring of 1945, weary and disillusioned by the war against the Nazis that has just ended, uncertain about a future under Communist rule, two resistance fighters are under orders to assassinate the incoming district leader. One of the fighters, the brooding Maciek, played by Zbigniew Cybulski (often called \u201cthe Polish James Dean\u201d), falls in love with a local barmaid, and is suddenly torn about how to move forward. As Wajda said about Ashes and Diamonds<\/em>, almost universally regarded as his masterpiece, \u201cI have tried to reveal to movie audiences the complicated and difficult world of a generation to which I myself belong.\u201d This anguished, romantic, and deeply personal film is an all-time favorite of both Francis Ford Coppola and Martin Scorsese, who placed it as #3 on his top ten list for Sight and Sound<\/em>.<\/p>\n\n\n\n


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\u201cA symbolic film, LOTNA explains Wajda better than any of his other pictures… it is the marvelous poem of a rebel aesthete, of a man who uses a romantic cinema to describe a war the was not in the least romantic.\u201d<\/strong>
\u2013 Ado Kyrou, Positif<\/em><\/p>\n<\/div>\n\n\n\n

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Lotna <\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ 1959 \/ 90min<\/p>\n\n\n\n

Saturday, October 3 at 12:15 PM
Monday, October 5 at 2:40 PM
Thursday, October 8 at 6:00 PM
Monday, October 12 at 8:50 PM<\/strong><\/p>\n\n\n\n

Starring Jerzy Pichelski, Adam Pawlikowski, Jerzy Moes, Mieczys\u0142aw \u0141oza, Roman Pola\u0144ski<\/p>\n\n\n\n

Perhaps the most personally meaningful of Wajda\u2019s World War II movies, Lotna<\/em> was likely inspired by the director\u2019s admiration for his father, a Polish cavalry officer who was killed during the Katy\u0144 massacre in 1940. Lotna<\/em> is a beautiful white horse, given as a gift by a wealthy landowner to a Polish cavalry troop in the fateful year of 1939. As the Germans attack with planes and tanks, the underequipped Polish army relies on archaic resources, such as the cavalry. Symbolic and at times surreal, the film was controversial at the time of its release for suggesting Polish foolhardiness in the face of the Nazi threat.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cA sophisticated comedy of seduction, the film oozes with youth and director Andrzej Wajda gives it an intoxicating sensual fizz.\u201d<\/strong>
\u2013 Evening Standard<\/em><\/p>\n\n\n\n

\u201cWajda shows his anti-heroes as amiable, innocent, rebellious victims of a world-wide atmosphere impregnated with the fall-out of fear and nihilism.\u201d<\/strong>
\u2013 Robert Vas, Sight and Sound<\/em><\/p>\n\n\n\n

\u201cAll we need to do is watch\u2014delighted by Wajda\u2019s sudden switch to gaiety\u2014with the spontaneous feelings of innocence on one hand and questioning maturity on the other.\u201d<\/strong>
\u2013 Monthly Film Bulletin<\/em><\/p>\n<\/div>\n\n\n\n

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Innocent Sorcerers<\/a><\/strong><\/em> <\/h4>\n\n\n\n

Andrzej Wajda \/ Niewinni czarodzieje<\/em> \/ 1960 \/ 88min \/ 4K restoration<\/p>\n\n\n\n

Saturday, October 3 at 2:20 PM
Tuesday, October 6 at 4:30 PM<\/strong><\/p>\n\n\n\n

Starring Tadeusz \u0141omnicki, Krystyna Stypu\u0142kowska<\/p>\n\n\n\n

After completing his war trilogy with Ashes and Diamonds<\/em>, Wajda turned to a more freewheeling and contemporary project. Innocent Sorcerers<\/em> captures the energy of jazz (banned in Poland until Stalin\u2019s 1953 death) and the spontaneity of the French New Wave as it follows the tentative courtship between Andrzej (Tadeusz \u0141omnicki, star of A Generation<\/em>), a young doctor who seems more passionate about music than the women who pursue him, and the playfully seductive Magda, who tries to break his cool. Working with emerging young filmmakers, Wajda used a script co-written by Jerzy Skolimowski. Martin Scorsese selected it for his 2014 traveling series \u201cMasterpieces of Polish Cinema.\u201d<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cA visually stunning, incredibly sensual, and increasingly surreal film of breathtaking beauty and terror.\u201d<\/strong>
\u2013 The Los Angeles Times<\/em><\/p>\n\n\n\n

\u201cA riotous wedding celebration that doubles as a devastating autopsy of a nation in paralysis, Andrzej Wajda\u2019s adaptation of a 1901 beloved classic is as politically urgent as it is visually intoxicating.\u201d<\/strong>
 \u2013 James Morton, The Independent<\/em><\/p>\n<\/div>\n\n\n\n

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Wedding<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Wesele<\/em> \/ 1972 \/ 106min \/ 35mm<\/p>\n\n\n\n

Monday, October 5 at 6:00 PM
Thursday, October 8 at 3:30 PM<\/strong><\/p>\n\n\n\n

Starring Daniel Olbrychski, Ewa Zi\u0119tek, Marek Walczewski, Iza Olszewska<\/p>\n\n\n\n

The turn-of-the-century wedding between a famed poet and a peasant woman inspired the popular 1901 play The Wedding<\/em> by Stanislaw Wyspia\u0144ski. Written at a time when Polish intellectuals were trying to find connections with the country\u2019s peasantry, the play is a satire of this idealistic urge, and an allegory for the nation\u2019s history, making it ideal source material for this rarely screened adaptation. A kaleidoscopic whirl of activity, the film follows the revelries of the wedding guests, and things get more surreal as the evening goes on, and figures from Polish history appear, including a king\u2019s jester, a medieval hero, and the leader of a peasant revolt. Wajda creates a fantasmagoria; he says he wanted \u201ca film reality in which the worlds of thoughts, feelings, and occurrences might co-exist on an equal footing; where dream and reality would imperceptibly intertwine.\u201d<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cJerzy\u2019s growing panic is beautifully illuminated in Mr. Zapasiewicz, who manages to find heroic stature in a character who has always compromised. One of the more provocative movies of the year to date.\u201d<\/strong>
 \u2013 Vincent Canby, The New York Times<\/em><\/p>\n<\/div>\n\n\n\n

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Rough Treatment (Without Anesthesia)<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Bez znieczulenia<\/em> \/ 1978 \/ 131min \/ 35mm<\/p>\n\n\n\n

Monday, October 5 at 8:10 PM
Wednesday, October 7 at 1:00<\/strong> PM<\/strong><\/p>\n\n\n\n

Starring Zbigniew Zapasiewicz, Ewa Da\u0142kowska, Andrzej Seweryn, Krystyna Janda <\/p>\n\n\n\n

A television journalist\u2019s career and personal life unravel simultaneously in this Kafkaesque political drama and paranoid thriller that was the first of five Wajda films scripted by Agnieszka Holland. Made just before the rise of the Solidarity movement, Wajda considers this to be one of his most directly personal and politically timely works, \u201cI made it at a time when the regime realized that other authorities\u2014such as the authority of art\u2014were threatening it, so it had to undermine them all in order to assert its own. Suddenly, there was no longer a social life in the department of the university where I taught. I had to react against it.\u201d
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\u201cWajda has created a very personal, experimental work here, very Polish in mood and inventiveness. It is a haunting homage to the past, a story of elusive contours and shapes which have merely been outlined, now disappearing and dissolving into oblivion.\u201d<\/strong>
\u2013 Albert Johnson, for the San Francisco International Film Festival<\/p>\n<\/div>\n\n\n\n

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Everything for Sale<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Wszystko na sprzeda\u017c<\/em> \/ 1969 \/ 105min \/ 35mm<\/p>\n\n\n\n

Tuesday, October 6 at 2:20 PM
Sunday, October 11 at 7:40 PM<\/strong><\/p>\n\n\n\n

Starring Andrzej \u0141apicki, Beata Tyszkiewicz, El\u017cbieta Czy\u017cewska, Daniel Olbrychski<\/p>\n\n\n\n

Wajda\u2019s Everything for Sale<\/em> is a film-within-a-film about a director\u2019s search for his leading man, who goes missing from the set. It was inspired by the tragic death of Zbigniew Cybulski, the beloved star of Ashes and Diamonds<\/em> who became an iconic cult figure in Polish cinema. Cybulski died trying to jump off a moving train, a stunt he performed in numerous films. Made in an improvisational, self-referential spirit, the film takes numerous Pirandellian twists, including the performance of Daniel Olbrychski, the actor who became a real-life successor to Cybulski playing the actor who replaces the missing star.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cWith his new film KATY\u0143, Poland\u2019s greatest filmmaker caps his career with the story he waited most of his life to tell.\u201d<\/strong>
\u2013 J. Hoberman, The Village Voice<\/em><\/p>\n\n\n\n

\u201cWajda has made one of the movies\u2019 most potent evocations of a gruesome twentieth-century ritual… Wajda has exorcised feelings that may have burdened him since he was a teenager: his own father, Jakub Wajda, a decorated fighter in the First World War, was among the officers killed. This tenacious artist has now given his father a proper memorial and has reasserted, with power and grace, the history and identity of his nearly effaced country.\u201d<\/strong>
 \u2013 David Denby, The New Yorker<\/em><\/p>\n\n\n\n

\u201cA film that\u2019s grand, sorrowful, masterful, movin,  and (in the end) resolute about bringing reality close to the touch.\u201d<\/strong>
\u2013 The Nation<\/em><\/p>\n<\/div>\n\n\n\n

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Katy\u0144<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ 2007 \/ 122min \/ DCP<\/p>\n\n\n\n

Tuesday, October 6 at 8:35 PM
Wednesday, October 14 at 12:15 PM
Sunday, October 18 at 1:00<\/strong> PM<\/strong><\/p>\n\n\n\n

Starring Artur Zmijewski, Maja Ostaszewska<\/p>\n\n\n\n

In 1940, a year after the Nazi invasion of Poland, Soviet forces secretly murdered more than 15,000 Polish officers, intellectuals, and professionals over a three-day period. Stalin\u2019s purpose was to destroy elements of the population who might resist post-war Soviet control. Andrzej Wajda\u2019s father was among the victims, and the Soviet role in the massacre was hidden for decades. Wajda\u2019s unflinching, epic film dramatizes the human story, of both perpetrators and victims. The film was a massive box office success in Poland, provoking a mix of catharsis and controversy. And it was an Oscar\u00ae nominee for Best Foreign Language Film.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cThis tale backlights like few others the complete darkness represented by the Nazis\u2014crystal-clear goodness was swallowed up with every other human quality and there was nothing to be done about it. The film about the most defiant and heroic Pole of the WWII years leaves behind a devastating sense of hopelessness, of watching evil easily win, on a cosmic scale if only for the time being.\u201d<\/strong>
 \u2013 Michael Atkinson, Sight and Sound<\/em><\/p>\n<\/div>\n\n\n\n

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Korczak<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ 1990 \/ 118min \/ DCP<\/p>\n\n\n\n

Wednesday, October 7 at 3:40 PM
Thursday, October 8 at 8:00 PM
Friday, October 9 at 1:00 PM
Tuesday, October 13 at 4:30 PM
Saturday, October 17 at 7:50 PM
Thursday, October 22 at 12:20 PM<\/strong><\/p>\n\n\n\n

Starring Wojciech Pszoniak, Ewa Da\u0142kowska, Teresa Budzisz-Krzy\u017canowska, Marzena Tryba\u0142a<\/p>\n\n\n\n

Janusz Korczak was a renowned doctor, teacher, and author who ran a Jewish orphanage in the Warsaw Ghetto, and ultimately sacrificed his life to stay with them until his deportation to Treblinka. With a bracingly unsentimental script by Agnieszka Holland, and stunning black-and-white cinematography by Robby M\u00fcller intercut with actual archival footage, Wajda recreates life in the ghetto in vivid detail. Wajda fought for years to get this film made, claiming \u201cJewish themes in Polish culture have been virtually banned for twenty years.\u201d<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cBrilliantly illuminates one of the most fascinating periods of the French Revolution\u201d<\/strong>
 \u2013 Vincent Canby, The New York Times<\/em><\/p>\n<\/div>\n\n\n\n

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Danton<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ 1983 \/ 136min \/ 35mm<\/p>\n\n\n\n

Wednesday, October 7 at 6:10 PM
Thursday, October 8 at 12:40 PM
Friday, October 9 at 3:30 PM<\/strong><\/p>\n\n\n\n

Starring G\u00e9rard Depardieu, Wojciech Pszoniak, Anne Alvaro<\/p>\n\n\n\n

Based on The Danton Affair<\/em>, a 1930s play that Wajda directed on stage in 1975, this boisterous and lavish French production starring Gerard Depardieu and scripted by Jean-Claude Carriere, may have seemed like a break from contemporary Polish politics. But Depardieu\u2019s Danton, an earthy, plain-spoken man of the people, was widely seen as a representation of Polish solidarity leader Lech Walesa, and Wojciech Pszoniak\u2019s reserved, cerebral Robespierre, was seen as the iron-fisted military general and Polish president Wojciech Jaruzelski. The film\u2019s politics have been widely debated, but the movie, a rare Wajda production made outside of his own country, was a hit of the 1983 New York Film Festival and an arthouse success.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cAndrzej Wajda\u2019s Man of Marble is the Polish CITIZEN KANE\u2014with all that implies about the film\u2019s structure, scope, ambition, impact, influence, and choice of protagonist… A dynamic, brilliantly structured, and continually engrossing work with the immediacy of a battlefield dispatch.\u201d<\/strong>
\u2013 J. Hoberman, The Village Voice<\/em><\/p>\n\n\n\n

\u201cA political epic, compassionate and as bitterly funny as a cartoon… a big, fascinating, risky film that testifies not only to Mr. Wajda\u2019s remarkable vision, but also to the vitality of contemporary Polish life.\u201d<\/strong>
\u2013 Vincent Canby, The New York Times<\/em><\/p>\n\n\n\n

\u201cIt\u2019s a long, riveting exploration, bitterly comic, utterly convincing, as exciting as a thriller and one of the best records we have of its time.\u201d<\/strong>
 \u2013 Phillip French, The Observer<\/em> (UK)<\/p>\n<\/div>\n\n\n\n

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Man of Marble<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Cz\u0142owiek z marmuru<\/em> \/ 1977 \/ 161min \/ 35mm<\/p>\n\n\n\n

Friday, October 9 at 6:30 PM
Saturday, October 10 at 1:00 PM
Sunday, October 11 at 1:10 PM
Friday, October 16 at 12:30 PM
Wednesday, October 21 at 12:15 PM<\/strong><\/p>\n\n\n\n

Starring Jerzy Radziwi\u0142owicz, Tadeusz \u0141omnicki<\/p>\n\n\n\n

An aggressive documentary filmmaker fights present-day 1970s government censorship as she seeks the truth about bricklayer Matuesz Birkut, a state-manufactured proletariat hero during the Soviet-controlled 1950s. Fourteen years in the making, MAN OF MARBLE is a film-within-a-film that blends documentary, pseudo-documentary, and fictional techniques that inevitably draw comparison to CITIZEN KANE. Like Orson Welles\u2019 masterpiece, MAN OF MARBLE is a reflection on national history and mythology and also on the very nature of filmmaking. It also turned out to prophesize the worker strikes of 1980 and the rise of the Solidarity movement.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cMAN OF IRON is such an up-to-date report on political events in Poland that one attends to it less as a piece of fiction than as a prime-time television news special.\u201d<\/strong>
\u2013 Vincent Canby, The New York Times<\/em><\/p>\n\n\n\n

\u201cForged in a white heat, its structure molded by history, MAN OF IRON brings Wajda\u2019s open-ended masterpiece, MAN OF MARBLE, to stunning, dialectical completion. Together, the films form a remarkable political epic, at once prophecy, intervention, and documentation.\u201d<\/strong>
\u2013 J. Hobeman, The Village Voice<\/em><\/p>\n\n\n\n

\u201cShot at the very epicentre of Solidarity\u2019s activities and featuring an appearance by Lech Wa\u0142\u0119sa, this brave, imaginative film became part of the political process it observed. After winning the Palme d\u2019Or at Cannes, MAN OF IRON was banned at home and Wajda went into exile.\u201d<\/strong>
 \u2013 Phillip French, The Observer<\/em> (UK)<\/p>\n<\/div>\n\n\n\n

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Man of Iron<\/a><\/strong><\/em><\/h4>\n\n\n\n

Andrzej Wajda \/ Cz\u0142owiek z \u017celaza<\/em> \/ 1981 \/ 152min \/ 35mm<\/p>\n\n\n\n

Saturday, October 10 at 4:15 PM
Friday, October 16 at 4:00 PM
Thursday, October 22 at 2:50<\/strong> PM<\/strong><\/p>\n\n\n\n

Starring Krystyna Janda, Jerzy Radziwi\u0142owicz, Marian Opania<\/p>\n\n\n\n

Living history made at white heat, the sequel to Man of Marble<\/em>, made just as the shipyard strikes were unfolding, is its mirror image. Here, the protagonist, also a journalist, is corrupted by the government when he takes an assignment to find dirt that will discredit the strike leaders. Remarkable in its timeliness, Man of Iron<\/em> features a cameo appearance by Solidarity leader Lech Wa\u0142\u0119sa. Filmed in January of 1981, it premiered months later at Cannes, where it won the Palme d\u2019Or, on its way to become the top Polish box office hit of all time.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cWith understandable triumphalism devoid of hagiography, Wajda tracks Walesa\u2019s career from shipyard worker to Nobel Prize winner, crafting an old-fashioned (in the best sense), at times stirring biopic that masterfully integrates an exceptional range of contemporary footage.\u201d<\/strong>
\u2013 Jay Weissberg, Variety<\/em><\/p>\n\n\n\n

\u201cWajda\u2019s storytelling is unfettered, and stars a magnificently moustached Robert Wi\u0119ckiewicz as the cocky, charismatic union leader and Agnieszka Grochowska as his long-suffering wife Danuta… the film is a brilliantly plotted piece of history.\u201d<\/strong>
\u2013 Kate Muir, The Times of London<\/em><\/p>\n\n\n\n

\u201cA movie with terrific force and irresistible storytelling gusto. It\u2019s an invigorating and very enjoyable film from a director who shows no signs of slowing down.\u201d<\/strong>
 \u2013 Peter Bradshaw, The Guardian<\/em><\/p>\n<\/div>\n\n\n\n

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Wa\u0142\u0119sa: Man of Hope<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Wa\u0142\u0119sa. Cz\u0142owiek z nadziei<\/em> \/ 2013 \/ 127min \/ DCP<\/p>\n\n\n\n

Saturday, October 10 at 7:20 PM
Wednesday, October 14 at 7:50 PM
Thursday, October 22 at 8:00 PM<\/strong><\/p>\n\n\n\n

Starring Robert Wi\u0119ckiewicz, Agnieszka Grochowska<\/p>\n\n\n\n

It felt inevitable that Wajda would make a film dramatizing the incredible life of Lech Wa\u0142\u0119sa, who rose from being a shipyard electrician and participant in the 1970 strikes at Gdansk to the leader of the Solidarity Movement a decade later, and then the country\u2019s president and a Nobel Peace Prize winner. Wa\u0142\u0119sa\u2019s story, and the rousing film Wa\u0142\u0119sa: Man of Hope<\/em> that Wajda made, is the perfect conclusion to the trilogy including Man of Marble<\/em> and Man of Iron<\/em>, which seem now to foreshadow Wa\u0142\u0119sa\u2019s rise. True to form, Wajda avoids cliches and gives us an unvarnished, complex portrait, brilliantly interweaving dramatic scenes with documentary footage.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cThe excitement and joy felt by the \u2018heroes\u2019 as they plan their future as factory owners is embellished by green-forested, pastoral scenes, exemplifying the traditional joys of ordered life among the gentility, so that contrasting looks at the degradation and gloom of the factory workers and their exploitation by greedy industrialists, are like visual descriptions from the worlds of Zola and Dickens.\u201d<\/strong>
\u2013 Albert Johnson, \u201cLetter from Cannes,\u201d 1975<\/p>\n<\/div>\n\n\n\n

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The Promised Land<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Ziemia obiecana<\/em> \/ 1975 \/ 163min \/ 35mm<\/p>\n\n\n\n

Starring Daniel Olbrychski, Wojciech Pszoniak, Andrej Seweryn, Kalin Jedrusik<\/p>\n\n\n\n

The rise of the industrial era and the capitalist boom it engendered are at the core of Wajda\u2019s epic adaptation of the novel by 1924 Nobel Prize winner W. S. Reymont. The film charts the rise and fall of three ambitious tycoons, Karol, a Polish nobleman, Maks, a German hoping to improve on the fate of his father who ran a failing old-time mill, and Moryc, who appears to be disdained except for these valuable connections. Exposing the ways that workers are exploited for the sake of financial growth, the film builds to a powerful climax that connects it to economic conflicts that were simmering in Poland at the time it was made.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cThis is an angry, vivid, passionate film. Cinema is worse off now that Wajda, one of the truly towering greats of the form, is dead; there is some consolation, though, that he went out with his boots still most defiantly on.\u201d<\/strong>
\u2013 Glenn Kenny, The New York Times<\/em><\/p>\n\n\n\n

\u201cWajda brings such a controlled fervor to this portrait because it\u2019s clear that, like Strzemi\u0144ski, he identifies as a dissident in dangerous times.\u201d<\/strong>
\u2013 Peter Rainer, The Christian Science Monitor<\/em><\/p>\n<\/div>\n\n\n\n

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Afterimage<\/a><\/strong><\/em><\/h4>\n\n\n\n

Andrzej Wajda \/ Powidoki<\/em> \/ 2016 \/ 98min \/ 4K DCP<\/p>\n\n\n\n

Monday, October 12 at 6:40 PM
Monday, October 19 at 1:00 PM
Wednesday, October 21 at 6:00<\/strong> PM<\/strong><\/p>\n\n\n\n

Starring Bogus\u0142aw Linda<\/p>\n\n\n\n

Released the year that he died at 90, Wajda\u2019s Afterimage<\/em> is the perfect coda to a career devoted to depicting the struggle between repressive governments and the free individual. Based on the life of avant-garde painter W\u0142adys\u0142aw Strzemi\u0144ski, who was a target of post-War Stalinist forces, which banned abstract art in favor of state-sponsored Socialist Realism, Afterimage<\/em> is a classically made drama with a commanding performance by long-time Wajda actor Bogus\u0142aw Linda as the artist. Of his compulsion to make a film about Strzemi\u0144ski, Wajda said, \u201cIt\u2019s good to see what happens when art is supervised, controlled, influenced by authority and censorship.\u201d<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cA gorgeously morbid tale, derived from a famous Polish novel but redolent of Turgenev and de Maupassant.\u201d<\/strong>
\u2013 Carlos Clarens, The Soho Weekly News<\/em><\/p>\n\n\n\n

\u201cIt is the most intense character drama he has made so far… The lyricism and beauty of the images constantly brighten the darkened souls of these individuals, and one responds with sympathy to their inept control of fleeting joy.\u201d<\/strong>
\u2013 San Francisco International Film Festival<\/em><\/p>\n\n\n\n

\u201cHere, for the first time, he made a success of a theme both universal and timeless, wrestling with the most deep-seated anxieties of human existence.\u201d<\/strong>
\u2013 Micha\u0142ek Boles\u0142aw, The Cinema of Andrzej Wajda<\/em><\/p>\n<\/div>\n\n\n\n

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The Birch Wood<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Brzezina<\/em> \/ 1970 \/ 99min \/ 35mm<\/p>\n\n\n\n

Wednesday, October 14 at 2:45 PM
Thursday, October 15 at 5:30 PM<\/strong><\/p>\n\n\n\n

Starring Olgierd \u0141ukaszewicz, Daniel Olbrychski, Emilia Krakowska<\/p>\n\n\n\n

Made on commission for Polish television, this rarely screened film is a heartfelt gem in Wajda\u2019s filmography. A rural tale of love and death, set deep in the forest and sensually photographed, it follows two brothers; a gloomy widow mourning for his wife while he raises his daughter, and an artist bursting with life-affirming energy and sexual passion despite suffering from tuberculosis. Love and death intertwine as, in a lodge deep in the forest, a dying consumptive pursues a village girl, while his vigorously healthy brother broods over his late wife.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cOne of the wisest, most civilized comedies in a long time. Features a string of superlative performances by the actresses who play the unlucky sisters, especially the one by Christine Pascal, the French actress, as the beautiful Tunia. Leaves one feeling invigorated, almost like new. Such are the astonishments of art.\u201d<\/strong>
 \u2013 Vincent Canby, The New York Times<\/em><\/p>\n\n\n\n

\u201cWistful, elegiac, seductive.\u201d<\/strong>
 \u2013 Time Out<\/em><\/p>\n<\/div>\n\n\n\n

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The Maids of Wilko<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Panny z Wilka<\/em> \/ 1979 \/ 118min \/ 35mm<\/p>\n\n\n\n

Wednesday, October 14 at 5:20 PM
Thursday, October 15 at 7:40 PM<\/strong><\/p>\n\n\n\n

Starring Daniel Olbrychski, Anna Seniuk, Christine Pascale, Maja Komorowska<\/p>\n\n\n\n

In Wajda\u2019s most Chekhovian film, Wiktor, a world-weary veteran returns to the country vacation home of his youth, next to the house of five sisters\u2014each of whom he had courted before going to fight in World War I. As he encounters the sisters anew, hoping to recapture his youth, we see how time has taken its toll.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cOne of Wajda\u2019s most personal statements on the artist\u2019s commitment to his art and the individual person\u2019s need for integrity, even when faced with the reality of exile.\u201d<\/strong>
\u2013 New Yorker Films<\/em><\/p>\n<\/div>\n\n\n\n

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The Conductor<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Dyrygent <\/em>\/ 1980 \/ 106min \/ 35mm<\/p>\n\n\n\n

Thursday, October 15 at 12:40 PM
Saturday, October 17 at 5:30 PM<\/strong><\/p>\n\n\n\n

Starring John Gielgud, Krystyna Janda, Andrzej Seweryn<\/p>\n\n\n\n

John Gielgud is Jan Lasocki, a renowned emigr\u00e9 conductor who returns to his native Poland to conduct a local orchestra. Lasocki finds himself in an unusual love triangle, with Marta, a past love and her husband Adam, the orchestra\u2019s regular conductor. \u201cYou\u2019re jealous about Jan\u2019s music,\u201d Marta tells Adam. \u201cThose who love music are free. Those who can\u2019t love what they don\u2019t do aren\u2019t free.\u201d The film explores the tension between patriotism and art in this allegorical film about freedom, exile, and national identity.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cIt is so beautifully composed, so elegiacal, it compels attention and will be likely to stay in the memory for a very long time.\u201d<\/strong>
\u2013 Vincent Canby, The New York Times<\/em><\/p>\n\n\n\n

\u201cThe direction by Wajda is unquestionably a major achievement in the artistic recording of that troubled transition from World War II to peace in central Europe. A picture of this caliber is something to be endured and appreciated as a living page of history.\u201d<\/strong>
\u2013 The New York Post<\/em><\/p>\n\n\n\n

\u201cLate in the film one realizes that love is the central theme of the story, for it is a potent regenerating force.\u201d<\/strong>
 \u2013 Jewish Film Institute<\/em><\/p>\n<\/div>\n\n\n\n

\n

Landscape After Battle<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Krajobraz po bitwie<\/em> \/ 1970 \/ 109min \/ 35mm<\/p>\n\n\n\n

Thursday, October 15 at 3:00 PM
Saturday, October 17 at 3:10 PM<\/strong><\/p>\n\n\n\n

Starring Daniel Olbrychski, Stanis\u0142awa Celi\u0144ska<\/p>\n\n\n\n

The Polish writer Tadeusz Borowski, survivor of Auschwitz and Dachau, captured his experiences in the short story collection This Way for the Gas, Ladies and Gentlemen, and committed suicide in 1951, at age 29. His memories of life in the camps, and the disorienting experience of trying to return to normal life, inspired Landscape After Battle<\/em>, a series of vignettes with the great actor Daniel Olbrychski playing Borowski. A young Jewish woman Borowski meets at the Displaced Persons Camp that is the film\u2019s primary setting \u201cyou must forget in order to live.\u201d Wajda\u2019s film eloquently asks how his country can possibly forget, and emerge from the horrors of the war.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cOlivera Markovic\u2019s on-target performance gives the heroine dignity in spite of all her vanity and vices.\u201d<\/strong>
\u2013 Deborah Young, Variety<\/em><\/p>\n<\/div>\n\n\n\n

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Siberian Lady Macbeth<\/a><\/strong><\/em><\/h4>\n\n\n\n

Andrzej Wajda \/ Sibirska Ledi Magbet<\/em> \/ 1961 \/ 98min \/ 35mm<\/p>\n\n\n\n

Saturday, October 17 at 12:50 PM \u2013 35mm
Monday, October 19 at 3:30 PM \u2013 35mm<\/strong><\/p>\n\n\n\n

Starring Olivera Markovic, Ljuba Tadic, Kapitalina Eric<\/p>\n\n\n\n

Made in Yugoslavia during a rare period of exile by Wajda, Siberian Lady Macbeth<\/em> is a tale of adultery and murder based on a Russian novella loosely inspired by the Shakespeare tragedy. \u201cShe was part woman, part volcano… lying, stealing, killing, to keep the man she loved,\u201d blared the tag line of an original movie poster; the film was first released in America as Fury Is a Woman<\/em>.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Wajda\u2019s concern with the tragic nature of human destiny, with the straits into which it is driven, is given a new dimension.\u201d<\/strong>
\u2013 Micha\u0142ek Boles\u0142aw, The Cinema of Andrzej Wajda<\/em><\/p>\n<\/div>\n\n\n\n

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Samson<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Popio\u0142y <\/em>\/ 1965 \/ 226min \/ 35mm<\/p>\n\n\n\n

Sunday, October 18 at 3:30 PM
Tuesday, October 20 at 5:20 PM
Wednesday, October 21 at 8:10 PM<\/strong><\/p>\n\n\n\n

Starring Serge Merlin, Alina Janowska, El\u017cbieta K\u0119pi\u0144ska<\/p>\n\n\n\n

Wajda\u2019s most terrifying portrait of a desperate man at bay, as Jakub Gold, in loose parallel to the biblical character, journeys from prison after pre-war anti-Semitic riots, through hiding places during the Occupation, to fulfillment in the Resistance. Wajda\u2019s first Scope film.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cIn the twists and turns of this complex story, spanning many years and countries, set in times of war and times of peace, amid endless wanderings, encounters, and partings, tempestuous loves, friendships and hates, there was fused a synthesis of what came to be called \u2018Polishness.\u2019\u201d<\/strong>
\u2013 Micha\u0142ek Boles\u0142aw, The Cinema of Andrzej Wajda<\/em><\/p>\n<\/div>\n\n\n\n

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The Ashes<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Popio\u0142y \/ 1965 \/ 234min \/ 35mm<\/p>\n\n\n\n

Sunday, October 18 at 6:00 PM<\/strong><\/p>\n\n\n\n

Starring Daniel Olbrychski, Bogus\u0142aw Kierc, Piotr Wysocki<\/p>\n\n\n\n

Wajda\u2019s most expansive historical epic focuses on Poland\u2019s participation in the Napoleonic wars, fighting against the Prussians and Austrians. Wajda focuses on a tortured young nobleman (Daniel Olbrychski, in the role that brought him international stardom) who reluctantly fights for Poland\u2019s freedom while struggling with his own identity.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cThe contrast between the idyllic life and the awareness of the upcoming disaster adds melancholy to this plot and makes CHRONICLE OF AMOROUS ACCIDENTS perhaps the most beautiful Polish film about the pre-war period.\u201d<\/strong>
\u2013 Robert Birkholc, culture.pl<\/em><\/p>\n<\/div>\n\n\n\n

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A Chronicle of Amorous Accidents<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Kronika wypadk\u00f3w mi\u0142osnych<\/em> \/ 1986 \/ 114min \/ 35mm<\/p>\n\n\n\n

Monday, October 19 at 6:00 PM
Tuesday, October 20 at 1:00<\/strong> PM <\/strong><\/p>\n\n\n\n

Starring Paulina M\u0142ynarska, Piotr Wawrzy\u0144czak<\/p>\n\n\n\n

Two graduating high school students fall in love in 1939, on the eve of World War II, in a lyrical coming-of-age film set in the idyllic region of Vilnia. The boy\u2019s strict, militaristic father and superstitious mother get in the way of their budding love, and the pair are blissfully ignorant of the turmoil in the real world that will soon engulf their way of life.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cA finely detailed, astutely crafted film in miniature, a small gemstone that glistens in the memory long after the lights come up.\u201d<\/strong>
\u2013 Kirk Honeycutt, The Hollywood Reporter<\/em>
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Sweet Rush<\/a><\/em><\/strong><\/h4>\n\n\n\n

Andrzej Wajda \/ Tatarak \/ 2009 \/ 85min \/ 35mm<\/p>\n\n\n\n

Monday, October 19 at 8:00 PM
Tuesday, October 20 at 3:00 PM
Wednesday, October 21 at 4:00<\/strong> PM<\/strong><\/p>\n\n\n\n

Starring Krystyna Janda, Pawe\u0142 Szajda<\/p>\n\n\n\n

An aging married woman (Krystyna Janda), who lost two sons during the war, becomes fascinated with a strapping young man she encounters one day. In this self-reflexive meditation on death, and the passion of youth, Janda breaks the film\u2019s fourth wall with a powerful monologue on the death of her real-life husband, Edward K\u0142osi\u0144ski (who happened to be the cinematographer of Wajda\u2019s Man of Marble<\/em> and Man of Iron<\/em>). Experimental in structure, this moving film is itself beautifully lensed by Pawe\u0142 Edelman, frequent Wajda collaborator who also shot Pola\u0144ski\u2019s The Pianist<\/em> and The Ghost Writer<\/em>.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Andrzej Wajda<\/strong><\/p>\n\n\n\n

Film and theater director, screenwriter, and set designer; one of the most prominent creators in the history of world cinema; recipient of an Academy Award for lifetime achievement. He was born on March 6, 1926, in Suwa\u0142ki and died on October 9, 2016, in Warsaw. From 1946 to 1949, Wajda studied at the Academy of Fine Arts in Krak\u00f3w. In 1953, he graduated from the Directing Department at the National Film, Television and Theatre School in \u0141\u00f3d\u017a.<\/p>\n\n\n\n

He made his feature film debut two years later with A Generation<\/em>, a story about the fate of youths from the suburbs of Warsaw during the Nazi occupation. He subsequently directed Kanal<\/em> (1957) and Ashes and Diamonds<\/em> based on the work of Jerzy Andrzejewski (1958). These two films established him as one of the most important directors of the new generation in Europe. They initiated the famous movement known as the Polish Film School, which engaged in a debate on national martyrological tradition and romantic heroism. In 1959, Wajda directed his first color film, Lotna<\/em> based on Wojciech \u017bukrowski, and in 1960, Innocent Sorcerers<\/em> entered the cinema screens. The following year, Wajda directed Samson<\/em> based on Kazimierz Brandys\u2014which presented the story of a Jew who escaped from the ghetto\u2014followed by two foreign films: the Yugoslav Lady Macbeth of the Mtsensk District<\/em> (1962) and Love at Twenty<\/em>, a French-German coproduction (1962). Ashes<\/em> based on Stefan \u017beromski (1965) provoked the most controversy of Wajda’s career up to that point, which was then over a decade long. The director created a work marked by historiosophical reflection, once again redefining the attitude toward Polish identity and tradition. In 1968, Layer Cake<\/em> based on Stanis\u0142aw Lem was produced, as well as the self-reflexive film about cinema people, Everything for Sale<\/em>. The catalyst for the film was the tragic death of Zbigniew Cybulski, who played the legendary role of Maciek Che\u0142micki in Ashes and Diamonds<\/em>. The director’s inspiration was Federico Fellini’s 8\u00bd<\/em>, a so-called „film about a film.” In 1973, the director made The Wedding<\/em> based on the drama by Stanis\u0142aw Wyspia\u0144ski. Two years later, The Promised Land<\/em> based on W\u0142adys\u0142aw Reymont was produced; nominated for an Academy Award, it is one of Wajda’s greatest cinematic achievements. In 1976, Wajda directed The Shadow Line<\/em> based on Joseph Conrad as a Polish-British coproduction.<\/p>\n\n\n\n

Man of Marble<\/em>\u2014a story about Mateusz Birkut, a shock worker whose 1950s fate is tracked by a contemporary documentary filmmaker\u2014was produced in 1977, although the screenplay by Aleksander \u015acibor-Rylski had been ready over a decade earlier. However, for censorship reasons, it could not be produced for years. The continuation of Man of Marble<\/em> was Man of Iron<\/em> (1981), a film pulsating with the contemporary life of Poland, in which the characters’ dramas unfold during the memorable August of 1980. The 1970s brought two more films by Wajda: Without Anesthesia<\/em> (1978), which referenced the trend of cinema of moral anxiety, and The Ma\u90a3\u65f6s of Wilko<\/em> (1979), another brilliant film adaptation of Iwaszkiewicz’s prose, which earned Wajda his second Academy Award nomination. In 1980, The Conductor<\/em> was produced, featuring the prominent English actor John Gielgud. The 1980s were primarily a period of Wajda’s directing work abroad. In France, he directed Danton<\/em> (1983). In Germany, A Love in Germany<\/em> (1983) was produced. The only film from this period shot in Poland was Chronicle of \u7231 Love Affairs<\/em>. In his subsequent productions, Wajda vainly attempted to enter into a dialogue with audiences who, in the 1990s, received his successive films with relative indifference, much like a portion of the critics. Meanwhile, the director tackled various subjects. He directed the biographical film Korczak<\/em> (1990), and based on Dostoevsky’s The Idiot<\/em>, he directed Nastasja<\/em> (1994) featuring Japanese actors Tamasaburo Bando and Toshiyuki Nagashima. He returned to wartime themes in Holy Week<\/em> (1995) based on Jerzy Andrzejewski and the earlier The Ring with a Crowned Eagle<\/em> (1994)\u2014a film that film historian Jerzy P\u0142a\u017cewski described as the true end of the Polish School of the 1950s. Finally, he brought a popular contemporary novel to the screen: Tomek Tryzna’s Miss Nobody<\/em> (1996). He re-established authentic contact with audiences in 1998, when he adapted Pan Tadeusz<\/em> based on Adam Mickiewicz. In 2000, the director made The Death of a President<\/em> (released internationally as The Verdict on Franciszek K\u0142os<\/em>), and in 2002, he brought Aleksander Fredro’s Revenge<\/em> to the screen. After years of censorship restrictions\u2014and, following 1989, repeated attempts to develop a suitable screenplay\u2014Wajda finally succeeded in addressing the tragedy and the falsehood surrounding the Katy\u0144 massacre. In 2007, he directed Katy\u0144<\/em>, arguably the most personal film of his entire career. Wajda\u2019s subsequent project was\u00a0Wa\u0142\u0119sa<\/em>, a film that chronicles Lech Wa\u0142\u0119sa not only as a political leader but also as a private individual\u2014a husband and a father. The final film in Wajda\u2019s oeuvre proved to be\u00a0Afterimages<\/em>, a narrative detailing how the communist regime systematically destroyed an eminent artist and defiant spirit who opposed the doctrine of Socialist Realism.”<\/p>\n\n\n\n

Source: Culture.pl<\/a><\/p>\n\n\n\n

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Co-presented by the Polish Cultural Institute New York and DI Factory, and co-financed by Polish Film Institute. Partner: Documentary and Feature Film Studios.<\/em><\/p>\n\n\n\n

Presented with support from The Ashes and Diamonds Fund for Eastern European Film<\/em>.<\/p>\n\n\n

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<\/p>\n","protected":false},"excerpt":{"rendered":"

Friday, October 2 \u2013 Thursday, October 22Film Forum209 West Houston St. West of 6th Ave. \u201cAndrzej Wajda was one of the greatest filmmakers we\u2019ve ever had. His craftsmanship, his fearless commitment to the truth, his deep love for his homeland, his obsessive passion for cinema\u2014you can feel it all in every frame and every cut of every picture […]<\/p>\n","protected":false},"author":202,"featured_media":22042,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[5,9],"tags":[],"class_list":["post-21955","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events","category-film"],"yoast_head":"\nAndrzej Wajda 100: Retrospective at Film Forum - Instytut Polski w Nowym Jorku<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Andrzej Wajda 100: Retrospective at Film Forum - Instytut Polski w Nowym Jorku\" \/>\n<meta property=\"og:description\" content=\"Friday, October 2 \u2013 Thursday, October 22Film Forum209 West Houston St. West of 6th Ave. \u201cAndrzej Wajda was one of the greatest filmmakers we\u2019ve ever had. His craftsmanship, his fearless commitment to the truth, his deep love for his homeland, his obsessive passion for cinema\u2014you can feel it all in every frame and every cut of every picture […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/\" \/>\n<meta property=\"og:site_name\" content=\"Instytut Polski w Nowym Jorku\" \/>\n<meta property=\"article:published_time\" content=\"2026-09-18T19:50:52+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-09-19T15:34:48+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2050\" \/>\n\t<meta property=\"og:image:height\" content=\"1538\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"stypulkowskaa\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Napisane przez\" \/>\n\t<meta name=\"twitter:data1\" content=\"stypulkowskaa\" \/>\n\t<meta name=\"twitter:label2\" content=\"Szacowany czas czytania\" \/>\n\t<meta name=\"twitter:data2\" content=\"43 minuty\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"event\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/\",\"name\":\"Andrzej Wajda 100: Retrospective at Film Forum\",\"isPartOf\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/#primaryimage\"},\"image\":[\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1.jpg\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1-300x225.jpg\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1-1024x768.jpg\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1.jpg\"],\"thumbnailUrl\":\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1.jpg\",\"datePublished\":\"2026-09-18T19:50:52+02:00\",\"dateModified\":\"2026-09-19T15:34:48+02:00\",\"author\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/c732b2695ee92026d080eec35471c7f1\"},\"breadcrumb\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/#breadcrumb\"},\"inLanguage\":\"pl-PL\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/\"]}],\"@context\":\"https:\/\/schema.org\",\"startDate\":\"2026-10-02\",\"endDate\":\"2026-10-22\",\"eventStatus\":\"EventScheduled\",\"eventAttendanceMode\":\"OfflineEventAttendanceMode\",\"location\":{\"@type\":\"place\",\"name\":\"\",\"address\":\"\",\"geo\":{\"@type\":\"GeoCoordinates\",\"latitude\":\"\",\"longitude\":\"\"}},\"description\":\"Friday, October 2 \u2013 Thursday, October 22Film Forum209 West Houston St. West of 6th Ave.\\n\u201cAndrzej Wajda was one of the greatest filmmakers we\u2019ve ever had. His craftsmanship, his fearless commitment to the truth, his deep love for his homeland, his obsessive passion for cinema\u2014you can feel it all in every frame and every cut of every picture he ever made. Wajda left behind one of the most formidable bodies of work in the history of the art form. He was a true master.\u201d\u2013 Martin Scorsese\\nCommemorating the centennial of the great Polish director Andrzej Wajda (1926\u20132016), one of Central and Eastern Europe\u2019s most politically provocative postwar filmmakers. This three-week, 25-film retrospective includes new 4K restorations of Ashes and Diamonds, Kanal, A Generation, Man of Marble, Man of Iron, Korczak, and much more. The program offers an opportunity to encounter Wajda\u2019s cinema anew and to consider its enduring explorations of history, memory, identity, politics, and the individual caught within forces larger than themselves.\\nOver a career spanning more than six decades, Andrzej Wajda transformed the language of Polish cinema, chronicling the country\u2019s political and social upheavals while bringing its stories to audiences around the world. Wajda\u2019s work continues to stand as a vital record of its time, and as a body of cinema whose questions remain deeply relevant today. \\n\u201cA film of tremendous importance. The whole Polish cinema began with it.\u201d\u2013 Roman Pola\u0144ski\\n\u201cAt last real life has been glimpsed on screen rather than stale pap.\u201d\u2013 Antoni Bohdziewicz\\nGeneration\\nAndrzej Wajda \/ Pokolenie \/ 1955 \/ 87min \/ 35mm\\nFriday, October 2 at 12:30 PMSaturday, October 3 at 4:20 PMSunday, October 4 at 12:40 PMMonday, October 12 at 12:20 PM\\nStarring Tadeusz \u0141omnicki, Urszula Modrzy\u0144ska, Tadeusz Janczar\\nBreaking free from the rigid aesthetics of Stalin-mandated socialist realism, Wajda introduced a dynamic, morally complex new approach to filmmaking that reflected the experiences of a young generation shaped by the war. In his bold debut film, the first in his \u201cWar Trilogy,\u201d Wajda dramatized the Warsaw Ghetto Uprising with an expressionistic style that evokes American Film Noir. A delinquent teen who heroically joins the Resistance\u2014partly inspired by his love for one of the movement\u2019s leaders\u2014is the ostensible protagonist, but the more fascinating character is the reluctant and tortured Jasio (Tadeusz \u0141omnicki). One critic wrote, \u201cIt\u2019s a fair guess that the inner world to which Wajda personally felt most attuned was that of Jasio Krone\u2014edgy, troubled, bewildered, switching from one extreme to the other.\u201d\\n\u201cA remarkable experience in a number of ways... first of all for its tragic power, its obsessive picture of a nightmare world, its insistence on the human dramas continuing within the chaos.\u201d\u2013 Lindsay Anderson\\n\u201cIf this remarkable film is a true indication of his talent, Wajda should soon become as talked about and admired by U.S. art theatre patrons as Bergman and Fellini.\u201d\u2013 Richard Gertner, Motion Picture Daily\\n\u201cMaybe KANA\u0141 will mark the beginning of the truth being told about history, about ourselves, about a whole generation. Perhaps it will prove to be art as a warning, art of purgation, a triumph of the heroism of life over the heroism of death.\u201d\u2013 Aleksander Jackiewicz\\nKana\u0142\\nAndrzej Wajda \/ 1957 \/ 91min \/ 35mm\\nFriday, October 2 at 2:30 PMSaturday, October 3 at 6:20 PMSunday, October 4 at 2:40 PMTuesday, October 6 at 12:15 PMMonday, October 12 at 2:20 PM\\nStarring Teresa I\u017cewska, Tadeusz Janczar, Wienczys\u0142aw Glinski\\nWinner Cannes Film Festival \u2013 Special Jury Prize, 1957. During the celebrated four-minute long shot that introduces us to the beleaguered underground of fighters in Warsaw resisting the Nazi occupation in 1944, the narrator tells us, \u201cThese are the heroes of the tragedy. Watch them closely for these are the last hours of our lives.\u201d The centerpiece of Wajda\u2019s \u201cWar Trilogy,\u201d and the first Polish film to depict the Warsaw Uprising, Kana\u0142 follows the fighters through a hopeless but heroic journey that will take them into the city\u2019s sewer system, the only place they can survive. Winner of a Special Jury Prize at Cannes (along with Bergman\u2019s The Seventh Seal) and became the first of Wajda\u2019s films to open in the U.S. when it premiered at Dan Talbot\u2019s New Yorker Theater in 1961.\\n\u201cI saw ASHES AND DIAMONDS for the first time in 1961. And even back then, during that period when we expected to be astonished at the movies, when things were happening all over the world, it shocked me. It had to do with the look, both immediate and haunted, like a nightmare that won\u2019t stop unfolding; the sense of maddening insanity and absurdity, the tragedy of political infighting on the brink of peace and coming of age during wartime; and the beauty of the lead actor, Zbigniew Cybulski.\u201d \u2013 Martin Scorsese\\n\u201cFabulous. It\u2019s a beautiful movie. It was an extraordinary movie for many reasons. It\u2019s less known than it should be, but it\u2019s a beauty.\u201d\u2013 Francis Ford Coppola\\n\u201cHauntingly fascinating, brilliantly conceived, and haunting. Packs a great deal of cinematic and just plain raw graphic power.\u201d \u2013 Bosley Crowther, The New York Times\\n\u201cWajda\u2019s style is in part naturalistic, in part symbolic. He handles scenes of violence with a furious exactitude and moments of tenderness with a delicacy that never lunges into sentimental excess.\u201d\u2013 Herald Tribune\\nAshes and Diamonds\\nAndrzej Wajda \/ Popi\u00f3\u0142 i diament \/ 1958 \/ 103min \/ 35mm\\nFriday, October 2 at 4:40 6:50 PMSaturday, October 3 at 8:30 PMSunday, October 4 at 4:50 PM \u2013 35mmMonday, October 5 at 12:30 PMWednesday, October 7 at 9:00 PM \u2013 35mmMonday, October 12 at 4:30 PMThursday, October 22 at 5:50 PM\\nStarring Zbigniew Cybulski, Ewa Krzy\u017cewska, Wac\u0142aw Zastrze\u017cy\u0144ski\\nIn the spring of 1945, weary and disillusioned by the war against the Nazis that has just ended, uncertain about a future under Communist rule, two resistance fighters are under orders to assassinate the incoming district leader. One of the fighters, the brooding Maciek, played by Zbigniew Cybulski (often called \u201cthe Polish James Dean\u201d), falls in love with a local barmaid, and is suddenly torn about how to move forward. As Wajda said about Ashes and Diamonds, almost universally regarded as his masterpiece, \u201cI have tried to reveal to movie audiences the complicated and difficult world of a generation to which I myself belong.\u201d This anguished, romantic, and deeply personal film is an all-time favorite of both Francis Ford Coppola and Martin Scorsese, who placed it as #3 on his top ten list for Sight and Sound.\\n\u201cA symbolic film, LOTNA explains Wajda better than any of his other pictures... it is the marvelous poem of a rebel aesthete, of a man who uses a romantic cinema to describe a war the was not in the least romantic.\u201d\u2013 Ado Kyrou, Positif\\nLotna \\nAndrzej Wajda \/ 1959 \/ 90min\\nSaturday, October 3 at 12:15 PMMonday, October 5 at 2:40 PMThursday, October 8 at 6:00 PMMonday, October 12 at 8:50 PM\\nStarring Jerzy Pichelski, Adam Pawlikowski, Jerzy Moes, Mieczys\u0142aw \u0141oza, Roman Pola\u0144ski\\nPerhaps the most personally meaningful of Wajda\u2019s World War II movies, Lotna was likely inspired by the director\u2019s admiration for his father, a Polish cavalry officer who was killed during the Katy\u0144 massacre in 1940. Lotna is a beautiful white horse, given as a gift by a wealthy landowner to a Polish cavalry troop in the fateful year of 1939. As the Germans attack with planes and tanks, the underequipped Polish army relies on archaic resources, such as the cavalry. Symbolic and at times surreal, the film was controversial at the time of its release for suggesting Polish foolhardiness in the face of the Nazi threat.\\n\u201cA sophisticated comedy of seduction, the film oozes with youth and director Andrzej Wajda gives it an intoxicating sensual fizz.\u201d\u2013 Evening Standard\\n\u201cWajda shows his anti-heroes as amiable, innocent, rebellious victims of a world-wide atmosphere impregnated with the fall-out of fear and nihilism.\u201d\u2013 Robert Vas, Sight and Sound\\n\u201cAll we need to do is watch\u2014delighted by Wajda\u2019s sudden switch to gaiety\u2014with the spontaneous feelings of innocence on one hand and questioning maturity on the other.\u201d\u2013 Monthly Film Bulletin\\nInnocent Sorcerers \\nAndrzej Wajda \/ Niewinni czarodzieje \/ 1960 \/ 88min \/ 4K restoration\\nSaturday, October 3 at 2:20 PMTuesday, October 6 at 4:30 PM\\nStarring Tadeusz \u0141omnicki, Krystyna Stypu\u0142kowska\\nAfter completing his war trilogy with Ashes and Diamonds, Wajda turned to a more freewheeling and contemporary project. Innocent Sorcerers captures the energy of jazz (banned in Poland until Stalin\u2019s 1953 death) and the spontaneity of the French New Wave as it follows the tentative courtship between Andrzej (Tadeusz \u0141omnicki, star of A Generation), a young doctor who seems more passionate about music than the women who pursue him, and the playfully seductive Magda, who tries to break his cool. Working with emerging young filmmakers, Wajda used a script co-written by Jerzy Skolimowski. Martin Scorsese selected it for his 2014 traveling series \u201cMasterpieces of Polish Cinema.\u201d\\n\u201cA visually stunning, incredibly sensual, and increasingly surreal film of breathtaking beauty and terror.\u201d\u2013 The Los Angeles Times\\n\u201cA riotous wedding celebration that doubles as a devastating autopsy of a nation in paralysis, Andrzej Wajda\u2019s adaptation of a 1901 beloved classic is as politically urgent as it is visually intoxicating.\u201d \u2013 James Morton, The Independent\\nWedding\\nAndrzej Wajda \/ Wesele \/ 1972 \/ 106min \/ 35mm\\nMonday, October 5 at 6:00 PMThursday, October 8 at 3:30 PM\\nStarring Daniel Olbrychski, Ewa Zi\u0119tek, Marek Walczewski, Iza Olszewska\\nThe turn-of-the-century wedding between a famed poet and a peasant woman inspired the popular 1901 play The Wedding by Stanislaw Wyspia\u0144ski. Written at a time when Polish intellectuals were trying to find connections with the country\u2019s peasantry, the play is a satire of this idealistic urge, and an allegory for the nation\u2019s history, making it ideal source material for this rarely screened adaptation. A kaleidoscopic whirl of activity, the film follows the revelries of the wedding guests, and things get more surreal as the evening goes on, and figures from Polish history appear, including a king\u2019s jester, a medieval hero, and the leader of a peasant revolt. Wajda creates a fantasmagoria; he says he wanted \u201ca film reality in which the worlds of thoughts, feelings, and occurrences might co-exist on an equal footing; where dream and reality would imperceptibly intertwine.\u201d\\n\u201cJerzy\u2019s growing panic is beautifully illuminated in Mr. Zapasiewicz, who manages to find heroic stature in a character who has always compromised. One of the more provocative movies of the year to date.\u201d \u2013 Vincent Canby, The New York Times\\nRough Treatment (Without Anesthesia)\\nAndrzej Wajda \/ Bez znieczulenia \/ 1978 \/ 131min \/ 35mm\\nMonday, October 5 at 8:10 PMWednesday, October 7 at 1:00 PM\\nStarring Zbigniew Zapasiewicz, Ewa Da\u0142kowska, Andrzej Seweryn, Krystyna Janda \\nA television journalist\u2019s career and personal life unravel simultaneously in this Kafkaesque political drama and paranoid thriller that was the first of five Wajda films scripted by Agnieszka Holland. Made just before the rise of the Solidarity movement, Wajda considers this to be one of his most directly personal and politically timely works, \u201cI made it at a time when the regime realized that other authorities\u2014such as the authority of art\u2014were threatening it, so it had to undermine them all in order to assert its own. Suddenly, there was no longer a social life in the department of the university where I taught. I had to react against it.\u201d\\n\u201cWajda has created a very personal, experimental work here, very Polish in mood and inventiveness. It is a haunting homage to the past, a story of elusive contours and shapes which have merely been outlined, now disappearing and dissolving into oblivion.\u201d\u2013 Albert Johnson, for the San Francisco International Film Festival\\nEverything for Sale\\nAndrzej Wajda \/ Wszystko na sprzeda\u017c \/ 1969 \/ 105min \/ 35mm\\nTuesday, October 6 at 2:20 PMSunday, October 11 at 7:40 PM\\nStarring Andrzej \u0141apicki, Beata Tyszkiewicz, El\u017cbieta Czy\u017cewska, Daniel Olbrychski\\nWajda\u2019s Everything for Sale is a film-within-a-film about a director\u2019s search for his leading man, who goes missing from the set. It was inspired by the tragic death of Zbigniew Cybulski, the beloved star of Ashes and Diamonds who became an iconic cult figure in Polish cinema. Cybulski died trying to jump off a moving train, a stunt he performed in numerous films. Made in an improvisational, self-referential spirit, the film takes numerous Pirandellian twists, including the performance of Daniel Olbrychski, the actor who became a real-life successor to Cybulski playing the actor who replaces the missing star.\\n\u201cWith his new film KATY\u0143, Poland\u2019s greatest filmmaker caps his career with the story he waited most of his life to tell.\u201d\u2013 J. Hoberman, The Village Voice\\n\u201cWajda has made one of the movies\u2019 most potent evocations of a gruesome twentieth-century ritual... Wajda has exorcised feelings that may have burdened him since he was a teenager: his own father, Jakub Wajda, a decorated fighter in the First World War, was among the officers killed. This tenacious artist has now given his father a proper memorial and has reasserted, with power and grace, the history and identity of his nearly effaced country.\u201d \u2013 David Denby, The New Yorker\\n\u201cA film that\u2019s grand, sorrowful, masterful, movin, and (in the end) resolute about bringing reality close to the touch.\u201d\u2013 The Nation\\nKaty\u0144\\nAndrzej Wajda \/ 2007 \/ 122min \/ DCP\\nTuesday, October 6 at 8:35 PMWednesday, October 14 at 12:15 PMSunday, October 18 at 1:00 PM\\nStarring Artur Zmijewski, Maja Ostaszewska\\nIn 1940, a year after the Nazi invasion of Poland, Soviet forces secretly murdered more than 15,000 Polish officers, intellectuals, and professionals over a three-day period. Stalin\u2019s purpose was to destroy elements of the population who might resist post-war Soviet control. Andrzej Wajda\u2019s father was among the victims, and the Soviet role in the massacre was hidden for decades. Wajda\u2019s unflinching, epic film dramatizes the human story, of both perpetrators and victims. The film was a massive box office success in Poland, provoking a mix of catharsis and controversy. And it was an Oscar\u00ae nominee for Best Foreign Language Film.\\n\u201cThis tale backlights like few others the complete darkness represented by the Nazis\u2014crystal-clear goodness was swallowed up with every other human quality and there was nothing to be done about it. The film about the most defiant and heroic Pole of the WWII years leaves behind a devastating sense of hopelessness, of watching evil easily win, on a cosmic scale if only for the time being.\u201d \u2013 Michael Atkinson, Sight and Sound\\nKorczak\\nAndrzej Wajda \/ 1990 \/ 118min \/ DCP\\nWednesday, October 7 at 3:40 PMThursday, October 8 at 8:00 PMFriday, October 9 at 1:00 PMTuesday, October 13 at 4:30 PMSaturday, October 17 at 7:50 PMThursday, October 22 at 12:20 PM\\nStarring Wojciech Pszoniak, Ewa Da\u0142kowska, Teresa Budzisz-Krzy\u017canowska, Marzena Tryba\u0142a\\nJanusz Korczak was a renowned doctor, teacher, and author who ran a Jewish orphanage in the Warsaw Ghetto, and ultimately sacrificed his life to stay with them until his deportation to Treblinka. With a bracingly unsentimental script by Agnieszka Holland, and stunning black-and-white cinematography by Robby M\u00fcller intercut with actual archival footage, Wajda recreates life in the ghetto in vivid detail. Wajda fought for years to get this film made, claiming \u201cJewish themes in Polish culture have been virtually banned for twenty years.\u201d\\n\u201cBrilliantly illuminates one of the most fascinating periods of the French Revolution\u201d \u2013 Vincent Canby, The New York Times\\nDanton\\nAndrzej Wajda \/ 1983 \/ 136min \/ 35mm\\nWednesday, October 7 at 6:10 PMThursday, October 8 at 12:40 PMFriday, October 9 at 3:30 PM\\nStarring G\u00e9rard Depardieu, Wojciech Pszoniak, Anne Alvaro\\nBased on The Danton Affair, a 1930s play that Wajda directed on stage in 1975, this boisterous and lavish French production starring Gerard Depardieu and scripted by Jean-Claude Carriere, may have seemed like a break from contemporary Polish politics. But Depardieu\u2019s Danton, an earthy, plain-spoken man of the people, was widely seen as a representation of Polish solidarity leader Lech Walesa, and Wojciech Pszoniak\u2019s reserved, cerebral Robespierre, was seen as the iron-fisted military general and Polish president Wojciech Jaruzelski. The film\u2019s politics have been widely debated, but the movie, a rare Wajda production made outside of his own country, was a hit of the 1983 New York Film Festival and an arthouse success.\\n\u201cAndrzej Wajda\u2019s Man of Marble is the Polish CITIZEN KANE\u2014with all that implies about the film\u2019s structure, scope, ambition, impact, influence, and choice of protagonist... A dynamic, brilliantly structured, and continually engrossing work with the immediacy of a battlefield dispatch.\u201d\u2013 J. Hoberman, The Village Voice\\n\u201cA political epic, compassionate and as bitterly funny as a cartoon... a big, fascinating, risky film that testifies not only to Mr. Wajda\u2019s remarkable vision, but also to the vitality of contemporary Polish life.\u201d\u2013 Vincent Canby, The New York Times\\n\u201cIt\u2019s a long, riveting exploration, bitterly comic, utterly convincing, as exciting as a thriller and one of the best records we have of its time.\u201d \u2013 Phillip French, The Observer (UK)\\nMan of Marble\\nAndrzej Wajda \/ Cz\u0142owiek z marmuru \/ 1977 \/ 161min \/ 35mm\\nFriday, October 9 at 6:30 PMSaturday, October 10 at 1:00 PMSunday, October 11 at 1:10 PMFriday, October 16 at 12:30 PMWednesday, October 21 at 12:15 PM\\nStarring Jerzy Radziwi\u0142owicz, Tadeusz \u0141omnicki\\nAn aggressive documentary filmmaker fights present-day 1970s government censorship as she seeks the truth about bricklayer Matuesz Birkut, a state-manufactured proletariat hero during the Soviet-controlled 1950s. Fourteen years in the making, MAN OF MARBLE is a film-within-a-film that blends documentary, pseudo-documentary, and fictional techniques that inevitably draw comparison to CITIZEN KANE. Like Orson Welles\u2019 masterpiece, MAN OF MARBLE is a reflection on national history and mythology and also on the very nature of filmmaking. It also turned out to prophesize the worker strikes of 1980 and the rise of the Solidarity movement.\\n\u201cMAN OF IRON is such an up-to-date report on political events in Poland that one attends to it less as a piece of fiction than as a prime-time television news special.\u201d\u2013 Vincent Canby, The New York Times\\n\u201cForged in a white heat, its structure molded by history, MAN OF IRON brings Wajda\u2019s open-ended masterpiece, MAN OF MARBLE, to stunning, dialectical completion. Together, the films form a remarkable political epic, at once prophecy, intervention, and documentation.\u201d\u2013 J. Hobeman, The Village Voice\\n\u201cShot at the very epicentre of Solidarity\u2019s activities and featuring an appearance by Lech Wa\u0142\u0119sa, this brave, imaginative film became part of the political process it observed. After winning the Palme d\u2019Or at Cannes, MAN OF IRON was banned at home and Wajda went into exile.\u201d \u2013 Phillip French, The Observer (UK)\\nMan of Iron\\nAndrzej Wajda \/ Cz\u0142owiek z \u017celaza \/ 1981 \/ 152min \/ 35mm\\nSaturday, October 10 at 4:15 PMFriday, October 16 at 4:00 PMThursday, October 22 at 2:50 PM\\nStarring Krystyna Janda, Jerzy Radziwi\u0142owicz, Marian Opania\\nLiving history made at white heat, the sequel to Man of Marble, made just as the shipyard strikes were unfolding, is its mirror image. Here, the protagonist, also a journalist, is corrupted by the government when he takes an assignment to find dirt that will discredit the strike leaders. Remarkable in its timeliness, Man of Iron features a cameo appearance by Solidarity leader Lech Wa\u0142\u0119sa. Filmed in January of 1981, it premiered months later at Cannes, where it won the Palme d\u2019Or, on its way to become the top Polish box office hit of all time.\\n\u201cWith understandable triumphalism devoid of hagiography, Wajda tracks Walesa\u2019s career from shipyard worker to Nobel Prize winner, crafting an old-fashioned (in the best sense), at times stirring biopic that masterfully integrates an exceptional range of contemporary footage.\u201d\u2013 Jay Weissberg, Variety\\n\u201cWajda\u2019s storytelling is unfettered, and stars a magnificently moustached Robert Wi\u0119ckiewicz as the cocky, charismatic union leader and Agnieszka Grochowska as his long-suffering wife Danuta... the film is a brilliantly plotted piece of history.\u201d\u2013 Kate Muir, The Times of London\\n\u201cA movie with terrific force and irresistible storytelling gusto. It\u2019s an invigorating and very enjoyable film from a director who shows no signs of slowing down.\u201d \u2013 Peter Bradshaw, The Guardian\\nWa\u0142\u0119sa: Man of Hope\\nAndrzej Wajda \/ Wa\u0142\u0119sa. Cz\u0142owiek z nadziei \/ 2013 \/ 127min \/ DCP\\nSaturday, October 10 at 7:20 PMWednesday, October 14 at 7:50 PMThursday, October 22 at 8:00 PM\\nStarring Robert Wi\u0119ckiewicz, Agnieszka Grochowska\\nIt felt inevitable that Wajda would make a film dramatizing the incredible life of Lech Wa\u0142\u0119sa, who rose from being a shipyard electrician and participant in the 1970 strikes at Gdansk to the leader of the Solidarity Movement a decade later, and then the country\u2019s president and a Nobel Peace Prize winner. Wa\u0142\u0119sa\u2019s story, and the rousing film Wa\u0142\u0119sa: Man of Hope that Wajda made, is the perfect conclusion to the trilogy including Man of Marble and Man of Iron, which seem now to foreshadow Wa\u0142\u0119sa\u2019s rise. True to form, Wajda avoids cliches and gives us an unvarnished, complex portrait, brilliantly interweaving dramatic scenes with documentary footage.\\n\u201cThe excitement and joy felt by the \u2018heroes\u2019 as they plan their future as factory owners is embellished by green-forested, pastoral scenes, exemplifying the traditional joys of ordered life among the gentility, so that contrasting looks at the degradation and gloom of the factory workers and their exploitation by greedy industrialists, are like visual descriptions from the worlds of Zola and Dickens.\u201d\u2013 Albert Johnson, \u201cLetter from Cannes,\u201d 1975\\nThe Promised Land\\nAndrzej Wajda \/ Ziemia obiecana \/ 1975 \/ 163min \/ 35mm\\nStarring Daniel Olbrychski, Wojciech Pszoniak, Andrej Seweryn, Kalin Jedrusik\\nThe rise of the industrial era and the capitalist boom it engendered are at the core of Wajda\u2019s epic adaptation of the novel by 1924 Nobel Prize winner W. S. Reymont. The film charts the rise and fall of three ambitious tycoons, Karol, a Polish nobleman, Maks, a German hoping to improve on the fate of his father who ran a failing old-time mill, and Moryc, who appears to be disdained except for these valuable connections. Exposing the ways that workers are exploited for the sake of financial growth, the film builds to a powerful climax that connects it to economic conflicts that were simmering in Poland at the time it was made.\\n\u201cThis is an angry, vivid, passionate film. Cinema is worse off now that Wajda, one of the truly towering greats of the form, is dead; there is some consolation, though, that he went out with his boots still most defiantly on.\u201d\u2013 Glenn Kenny, The New York Times\\n\u201cWajda brings such a controlled fervor to this portrait because it\u2019s clear that, like Strzemi\u0144ski, he identifies as a dissident in dangerous times.\u201d\u2013 Peter Rainer, The Christian Science Monitor\\nAfterimage\\nAndrzej Wajda \/ Powidoki \/ 2016 \/ 98min \/ 4K DCP\\nMonday, October 12 at 6:40 PMMonday, October 19 at 1:00 PMWednesday, October 21 at 6:00 PM\\nStarring Bogus\u0142aw Linda\\nReleased the year that he died at 90, Wajda\u2019s Afterimage is the perfect coda to a career devoted to depicting the struggle between repressive governments and the free individual. Based on the life of avant-garde painter W\u0142adys\u0142aw Strzemi\u0144ski, who was a target of post-War Stalinist forces, which banned abstract art in favor of state-sponsored Socialist Realism, Afterimage is a classically made drama with a commanding performance by long-time Wajda actor Bogus\u0142aw Linda as the artist. Of his compulsion to make a film about Strzemi\u0144ski, Wajda said, \u201cIt\u2019s good to see what happens when art is supervised, controlled, influenced by authority and censorship.\u201d\\n\u201cA gorgeously morbid tale, derived from a famous Polish novel but redolent of Turgenev and de Maupassant.\u201d\u2013 Carlos Clarens, The Soho Weekly News\\n\u201cIt is the most intense character drama he has made so far... The lyricism and beauty of the images constantly brighten the darkened souls of these individuals, and one responds with sympathy to their inept control of fleeting joy.\u201d\u2013 San Francisco International Film Festival\\n\u201cHere, for the first time, he made a success of a theme both universal and timeless, wrestling with the most deep-seated anxieties of human existence.\u201d\u2013 Micha\u0142ek Boles\u0142aw, The Cinema of Andrzej Wajda\\nThe Birch Wood\\nAndrzej Wajda \/ Brzezina \/ 1970 \/ 99min \/ 35mm\\nWednesday, October 14 at 2:45 PMThursday, October 15 at 5:30 PM\\nStarring Olgierd \u0141ukaszewicz, Daniel Olbrychski, Emilia Krakowska\\nMade on commission for Polish television, this rarely screened film is a heartfelt gem in Wajda\u2019s filmography. A rural tale of love and death, set deep in the forest and sensually photographed, it follows two brothers; a gloomy widow mourning for his wife while he raises his daughter, and an artist bursting with life-affirming energy and sexual passion despite suffering from tuberculosis. Love and death intertwine as, in a lodge deep in the forest, a dying consumptive pursues a village girl, while his vigorously healthy brother broods over his late wife.\\n\u201cOne of the wisest, most civilized comedies in a long time. Features a string of superlative performances by the actresses who play the unlucky sisters, especially the one by Christine Pascal, the French actress, as the beautiful Tunia. Leaves one feeling invigorated, almost like new. Such are the astonishments of art.\u201d \u2013 Vincent Canby, The New York Times\\n\u201cWistful, elegiac, seductive.\u201d \u2013 Time Out\\nThe Maids of Wilko\\nAndrzej Wajda \/ Panny z Wilka \/ 1979 \/ 118min \/ 35mm\\nWednesday, October 14 at 5:20 PMThursday, October 15 at 7:40 PM\\nStarring Daniel Olbrychski, Anna Seniuk, Christine Pascale, Maja Komorowska\\nIn Wajda\u2019s most Chekhovian film, Wiktor, a world-weary veteran returns to the country vacation home of his youth, next to the house of five sisters\u2014each of whom he had courted before going to fight in World War I. As he encounters the sisters anew, hoping to recapture his youth, we see how time has taken its toll.\\n\u201cOne of Wajda\u2019s most personal statements on the artist\u2019s commitment to his art and the individual person\u2019s need for integrity, even when faced with the reality of exile.\u201d\u2013 New Yorker Films\\nThe Conductor\\nAndrzej Wajda \/ Dyrygent \/ 1980 \/ 106min \/ 35mm\\nThursday, October 15 at 12:40 PMSaturday, October 17 at 5:30 PM\\nStarring John Gielgud, Krystyna Janda, Andrzej Seweryn\\nJohn Gielgud is Jan Lasocki, a renowned emigr\u00e9 conductor who returns to his native Poland to conduct a local orchestra. Lasocki finds himself in an unusual love triangle, with Marta, a past love and her husband Adam, the orchestra\u2019s regular conductor. \u201cYou\u2019re jealous about Jan\u2019s music,\u201d Marta tells Adam. \u201cThose who love music are free. Those who can\u2019t love what they don\u2019t do aren\u2019t free.\u201d The film explores the tension between patriotism and art in this allegorical film about freedom, exile, and national identity.\\n\u201cIt is so beautifully composed, so elegiacal, it compels attention and will be likely to stay in the memory for a very long time.\u201d\u2013 Vincent Canby, The New York Times\\n\u201cThe direction by Wajda is unquestionably a major achievement in the artistic recording of that troubled transition from World War II to peace in central Europe. A picture of this caliber is something to be endured and appreciated as a living page of history.\u201d\u2013 The New York Post\\n\u201cLate in the film one realizes that love is the central theme of the story, for it is a potent regenerating force.\u201d \u2013 Jewish Film Institute\\nLandscape After Battle\\nAndrzej Wajda \/ Krajobraz po bitwie \/ 1970 \/ 109min \/ 35mm\\nThursday, October 15 at 3:00 PMSaturday, October 17 at 3:10 PM\\nStarring Daniel Olbrychski, Stanis\u0142awa Celi\u0144ska\\nThe Polish writer Tadeusz Borowski, survivor of Auschwitz and Dachau, captured his experiences in the short story collection This Way for the Gas, Ladies and Gentlemen, and committed suicide in 1951, at age 29. His memories of life in the camps, and the disorienting experience of trying to return to normal life, inspired Landscape After Battle, a series of vignettes with the great actor Daniel Olbrychski playing Borowski. A young Jewish woman Borowski meets at the Displaced Persons Camp that is the film\u2019s primary setting \u201cyou must forget in order to live.\u201d Wajda\u2019s film eloquently asks how his country can possibly forget, and emerge from the horrors of the war.\\n\u201cOlivera Markovic\u2019s on-target performance gives the heroine dignity in spite of all her vanity and vices.\u201d\u2013 Deborah Young, Variety\\nSiberian Lady Macbeth\\nAndrzej Wajda \/ Sibirska Ledi Magbet \/ 1961 \/ 98min \/ 35mm\\nSaturday, October 17 at 12:50 PM \u2013 35mmMonday, October 19 at 3:30 PM \u2013 35mm\\nStarring Olivera Markovic, Ljuba Tadic, Kapitalina Eric\\nMade in Yugoslavia during a rare period of exile by Wajda, Siberian Lady Macbeth is a tale of adultery and murder based on a Russian novella loosely inspired by the Shakespeare tragedy. \u201cShe was part woman, part volcano... lying, stealing, killing, to keep the man she loved,\u201d blared the tag line of an original movie poster; the film was first released in America as Fury Is a Woman.\\nWajda\u2019s concern with the tragic nature of human destiny, with the straits into which it is driven, is given a new dimension.\u201d\u2013 Micha\u0142ek Boles\u0142aw, The Cinema of Andrzej Wajda\\nSamson\\nAndrzej Wajda \/ Popio\u0142y \/ 1965 \/ 226min \/ 35mm\\nSunday, October 18 at 3:30 PMTuesday, October 20 at 5:20 PMWednesday, October 21 at 8:10 PM\\nStarring Serge Merlin, Alina Janowska, El\u017cbieta K\u0119pi\u0144ska\\nWajda\u2019s most terrifying portrait of a desperate man at bay, as Jakub Gold, in loose parallel to the biblical character, journeys from prison after pre-war anti-Semitic riots, through hiding places during the Occupation, to fulfillment in the Resistance. Wajda\u2019s first Scope film.\\n\u201cIn the twists and turns of this complex story, spanning many years and countries, set in times of war and times of peace, amid endless wanderings, encounters, and partings, tempestuous loves, friendships and hates, there was fused a synthesis of what came to be called \u2018Polishness.\u2019\u201d\u2013 Micha\u0142ek Boles\u0142aw, The Cinema of Andrzej Wajda\\nThe Ashes\\nAndrzej Wajda \/ Popio\u0142y \/ 1965 \/ 234min \/ 35mm\\nSunday, October 18 at 6:00 PM\\nStarring Daniel Olbrychski, Bogus\u0142aw Kierc, Piotr Wysocki\\nWajda\u2019s most expansive historical epic focuses on Poland\u2019s participation in the Napoleonic wars, fighting against the Prussians and Austrians. Wajda focuses on a tortured young nobleman (Daniel Olbrychski, in the role that brought him international stardom) who reluctantly fights for Poland\u2019s freedom while struggling with his own identity.\\n\u201cThe contrast between the idyllic life and the awareness of the upcoming disaster adds melancholy to this plot and makes CHRONICLE OF AMOROUS ACCIDENTS perhaps the most beautiful Polish film about the pre-war period.\u201d\u2013 Robert Birkholc, culture.pl\\nA Chronicle of Amorous Accidents\\nAndrzej Wajda \/ Kronika wypadk\u00f3w mi\u0142osnych \/ 1986 \/ 114min \/ 35mm\\nMonday, October 19 at 6:00 PMTuesday, October 20 at 1:00 PM \\nStarring Paulina M\u0142ynarska, Piotr Wawrzy\u0144czak\\nTwo graduating high school students fall in love in 1939, on the eve of World War II, in a lyrical coming-of-age film set in the idyllic region of Vilnia. The boy\u2019s strict, militaristic father and superstitious mother get in the way of their budding love, and the pair are blissfully ignorant of the turmoil in the real world that will soon engulf their way of life.\\n\u201cA finely detailed, astutely crafted film in miniature, a small gemstone that glistens in the memory long after the lights come up.\u201d\u2013 Kirk Honeycutt, The Hollywood Reporter \\nSweet Rush\\nAndrzej Wajda \/ Tatarak \/ 2009 \/ 85min \/ 35mm\\nMonday, October 19 at 8:00 PMTuesday, October 20 at 3:00 PMWednesday, October 21 at 4:00 PM\\nStarring Krystyna Janda, Pawe\u0142 Szajda\\nAn aging married woman (Krystyna Janda), who lost two sons during the war, becomes fascinated with a strapping young man she encounters one day. In this self-reflexive meditation on death, and the passion of youth, Janda breaks the film\u2019s fourth wall with a powerful monologue on the death of her real-life husband, Edward K\u0142osi\u0144ski (who happened to be the cinematographer of Wajda\u2019s Man of Marble and Man of Iron). Experimental in structure, this moving film is itself beautifully lensed by Pawe\u0142 Edelman, frequent Wajda collaborator who also shot Pola\u0144ski\u2019s The Pianist and The Ghost Writer.\\nAndrzej Wajda\\nFilm and theater director, screenwriter, and set designer; one of the most prominent creators in the history of world cinema; recipient of an Academy Award for lifetime achievement. He was born on March 6, 1926, in Suwa\u0142ki and died on October 9, 2016, in Warsaw. From 1946 to 1949, Wajda studied at the Academy of Fine Arts in Krak\u00f3w. In 1953, he graduated from the Directing Department at the National Film, Television and Theatre School in \u0141\u00f3d\u017a.\\nHe made his feature film debut two years later with A Generation, a story about the fate of youths from the suburbs of Warsaw during the Nazi occupation. He subsequently directed Kanal (1957) and Ashes and Diamonds based on the work of Jerzy Andrzejewski (1958). These two films established him as one of the most important directors of the new generation in Europe. They initiated the famous movement known as the Polish Film School, which engaged in a debate on national martyrological tradition and romantic heroism. In 1959, Wajda directed his first color film, Lotna based on Wojciech \u017bukrowski, and in 1960, Innocent Sorcerers entered the cinema screens. The following year, Wajda directed Samson based on Kazimierz Brandys\u2014which presented the story of a Jew who escaped from the ghetto\u2014followed by two foreign films: the Yugoslav Lady Macbeth of the Mtsensk District (1962) and Love at Twenty, a French-German coproduction (1962). Ashes based on Stefan \u017beromski (1965) provoked the most controversy of Wajda's career up to that point, which was then over a decade long. The director created a work marked by historiosophical reflection, once again redefining the attitude toward Polish identity and tradition. In 1968, Layer Cake based on Stanis\u0142aw Lem was produced, as well as the self-reflexive film about cinema people, Everything for Sale. The catalyst for the film was the tragic death of Zbigniew Cybulski, who played the legendary role of Maciek Che\u0142micki in Ashes and Diamonds. The director's inspiration was Federico Fellini's 8\u00bd, a so-called \\\"film about a film.\\\" In 1973, the director made The Wedding based on the drama by Stanis\u0142aw Wyspia\u0144ski. Two years later, The Promised Land based on W\u0142adys\u0142aw Reymont was produced; nominated for an Academy Award, it is one of Wajda's greatest cinematic achievements. In 1976, Wajda directed The Shadow Line based on Joseph Conrad as a Polish-British coproduction.\\nMan of Marble\u2014a story about Mateusz Birkut, a shock worker whose 1950s fate is tracked by a contemporary documentary filmmaker\u2014was produced in 1977, although the screenplay by Aleksander \u015acibor-Rylski had been ready over a decade earlier. However, for censorship reasons, it could not be produced for years. The continuation of Man of Marble was Man of Iron (1981), a film pulsating with the contemporary life of Poland, in which the characters' dramas unfold during the memorable August of 1980. The 1970s brought two more films by Wajda: Without Anesthesia (1978), which referenced the trend of cinema of moral anxiety, and The Ma\u90a3\u65f6s of Wilko (1979), another brilliant film adaptation of Iwaszkiewicz's prose, which earned Wajda his second Academy Award nomination. In 1980, The Conductor was produced, featuring the prominent English actor John Gielgud. The 1980s were primarily a period of Wajda's directing work abroad. In France, he directed Danton (1983). In Germany, A Love in Germany (1983) was produced. The only film from this period shot in Poland was Chronicle of \u7231 Love Affairs. In his subsequent productions, Wajda vainly attempted to enter into a dialogue with audiences who, in the 1990s, received his successive films with relative indifference, much like a portion of the critics. Meanwhile, the director tackled various subjects. He directed the biographical film Korczak (1990), and based on Dostoevsky's The Idiot, he directed Nastasja (1994) featuring Japanese actors Tamasaburo Bando and Toshiyuki Nagashima. He returned to wartime themes in Holy Week (1995) based on Jerzy Andrzejewski and the earlier The Ring with a Crowned Eagle (1994)\u2014a film that film historian Jerzy P\u0142a\u017cewski described as the true end of the Polish School of the 1950s. Finally, he brought a popular contemporary novel to the screen: Tomek Tryzna's Miss Nobody (1996). He re-established authentic contact with audiences in 1998, when he adapted Pan Tadeusz based on Adam Mickiewicz. In 2000, the director made The Death of a President (released internationally as The Verdict on Franciszek K\u0142os), and in 2002, he brought Aleksander Fredro's Revenge to the screen. After years of censorship restrictions\u2014and, following 1989, repeated attempts to develop a suitable screenplay\u2014Wajda finally succeeded in addressing the tragedy and the falsehood surrounding the Katy\u0144 massacre. In 2007, he directed Katy\u0144, arguably the most personal film of his entire career. Wajda\u2019s subsequent project was\u00a0Wa\u0142\u0119sa, a film that chronicles Lech Wa\u0142\u0119sa not only as a political leader but also as a private individual\u2014a husband and a father. The final film in Wajda\u2019s oeuvre proved to be\u00a0Afterimages, a narrative detailing how the communist regime systematically destroyed an eminent artist and defiant spirit who opposed the doctrine of Socialist Realism.\\\"\\nSource: Culture.pl\\nCo-presented by the Polish Cultural Institute New York and DI Factory, and co-financed by Polish Film Institute. Partner: Documentary and Feature Film Studios.\\nPresented with support from The Ashes and Diamonds Fund for Eastern European Film.\"},{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/#primaryimage\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1.jpg\",\"contentUrl\":\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1.jpg\",\"width\":2050,\"height\":1538},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/instytutpolski.pl\/newyork\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Andrzej Wajda 100: Retrospective at Film Forum\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#website\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/\",\"name\":\"Instytut Polski w Nowym Jorku\",\"description\":\"Instytuty Polskie\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/instytutpolski.pl\/newyork\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"pl-PL\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/c732b2695ee92026d080eec35471c7f1\",\"name\":\"stypulkowskaa\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/a29bb1802c91e057084d5d112dd59dc4?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/a29bb1802c91e057084d5d112dd59dc4?s=96&d=mm&r=g\",\"caption\":\"stypulkowskaa\"},\"url\":\"https:\/\/instytutpolski.pl\/newyork\/author\/stypulkowskaa-2\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Andrzej Wajda 100: Retrospective at Film Forum - Instytut Polski w Nowym Jorku","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/","og_locale":"pl_PL","og_type":"article","og_title":"Andrzej Wajda 100: Retrospective at Film Forum - Instytut Polski w Nowym Jorku","og_description":"Friday, October 2 \u2013 Thursday, October 22Film Forum209 West Houston St. West of 6th Ave. \u201cAndrzej Wajda was one of the greatest filmmakers we\u2019ve ever had. His craftsmanship, his fearless commitment to the truth, his deep love for his homeland, his obsessive passion for cinema\u2014you can feel it all in every frame and every cut of every picture […]","og_url":"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/","og_site_name":"Instytut Polski w Nowym Jorku","article_published_time":"2026-09-18T19:50:52+00:00","article_modified_time":"2026-09-19T15:34:48+00:00","og_image":[{"width":2050,"height":1538,"url":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1.jpg","type":"image\/jpeg"}],"author":"stypulkowskaa","twitter_card":"summary_large_image","twitter_misc":{"Napisane przez":"stypulkowskaa","Szacowany czas czytania":"43 minuty"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"event","@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/","url":"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/","name":"Andrzej Wajda 100: Retrospective at Film Forum","isPartOf":{"@id":"https:\/\/instytutpolski.pl\/newyork\/#website"},"primaryImageOfPage":{"@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/#primaryimage"},"image":["https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1.jpg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1-300x225.jpg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1-1024x768.jpg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1.jpg"],"thumbnailUrl":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1.jpg","datePublished":"2026-09-18T19:50:52+02:00","dateModified":"2026-09-19T15:34:48+02:00","author":{"@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/c732b2695ee92026d080eec35471c7f1"},"breadcrumb":{"@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/#breadcrumb"},"inLanguage":"pl-PL","potentialAction":[{"@type":"ReadAction","target":["https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/"]}],"@context":"https:\/\/schema.org","startDate":"2026-10-02","endDate":"2026-10-22","eventStatus":"EventScheduled","eventAttendanceMode":"OfflineEventAttendanceMode","location":{"@type":"place","name":"","address":"","geo":{"@type":"GeoCoordinates","latitude":"","longitude":""}},"description":"Friday, October 2 \u2013 Thursday, October 22Film Forum209 West Houston St. West of 6th Ave.\n\u201cAndrzej Wajda was one of the greatest filmmakers we\u2019ve ever had. His craftsmanship, his fearless commitment to the truth, his deep love for his homeland, his obsessive passion for cinema\u2014you can feel it all in every frame and every cut of every picture he ever made. Wajda left behind one of the most formidable bodies of work in the history of the art form. He was a true master.\u201d\u2013 Martin Scorsese\nCommemorating the centennial of the great Polish director Andrzej Wajda (1926\u20132016), one of Central and Eastern Europe\u2019s most politically provocative postwar filmmakers. This three-week, 25-film retrospective includes new 4K restorations of Ashes and Diamonds, Kanal, A Generation, Man of Marble, Man of Iron, Korczak, and much more. The program offers an opportunity to encounter Wajda\u2019s cinema anew and to consider its enduring explorations of history, memory, identity, politics, and the individual caught within forces larger than themselves.\nOver a career spanning more than six decades, Andrzej Wajda transformed the language of Polish cinema, chronicling the country\u2019s political and social upheavals while bringing its stories to audiences around the world. Wajda\u2019s work continues to stand as a vital record of its time, and as a body of cinema whose questions remain deeply relevant today. \n\u201cA film of tremendous importance. The whole Polish cinema began with it.\u201d\u2013 Roman Pola\u0144ski\n\u201cAt last real life has been glimpsed on screen rather than stale pap.\u201d\u2013 Antoni Bohdziewicz\nGeneration\nAndrzej Wajda \/ Pokolenie \/ 1955 \/ 87min \/ 35mm\nFriday, October 2 at 12:30 PMSaturday, October 3 at 4:20 PMSunday, October 4 at 12:40 PMMonday, October 12 at 12:20 PM\nStarring Tadeusz \u0141omnicki, Urszula Modrzy\u0144ska, Tadeusz Janczar\nBreaking free from the rigid aesthetics of Stalin-mandated socialist realism, Wajda introduced a dynamic, morally complex new approach to filmmaking that reflected the experiences of a young generation shaped by the war. In his bold debut film, the first in his \u201cWar Trilogy,\u201d Wajda dramatized the Warsaw Ghetto Uprising with an expressionistic style that evokes American Film Noir. A delinquent teen who heroically joins the Resistance\u2014partly inspired by his love for one of the movement\u2019s leaders\u2014is the ostensible protagonist, but the more fascinating character is the reluctant and tortured Jasio (Tadeusz \u0141omnicki). One critic wrote, \u201cIt\u2019s a fair guess that the inner world to which Wajda personally felt most attuned was that of Jasio Krone\u2014edgy, troubled, bewildered, switching from one extreme to the other.\u201d\n\u201cA remarkable experience in a number of ways... first of all for its tragic power, its obsessive picture of a nightmare world, its insistence on the human dramas continuing within the chaos.\u201d\u2013 Lindsay Anderson\n\u201cIf this remarkable film is a true indication of his talent, Wajda should soon become as talked about and admired by U.S. art theatre patrons as Bergman and Fellini.\u201d\u2013 Richard Gertner, Motion Picture Daily\n\u201cMaybe KANA\u0141 will mark the beginning of the truth being told about history, about ourselves, about a whole generation. Perhaps it will prove to be art as a warning, art of purgation, a triumph of the heroism of life over the heroism of death.\u201d\u2013 Aleksander Jackiewicz\nKana\u0142\nAndrzej Wajda \/ 1957 \/ 91min \/ 35mm\nFriday, October 2 at 2:30 PMSaturday, October 3 at 6:20 PMSunday, October 4 at 2:40 PMTuesday, October 6 at 12:15 PMMonday, October 12 at 2:20 PM\nStarring Teresa I\u017cewska, Tadeusz Janczar, Wienczys\u0142aw Glinski\nWinner Cannes Film Festival \u2013 Special Jury Prize, 1957. During the celebrated four-minute long shot that introduces us to the beleaguered underground of fighters in Warsaw resisting the Nazi occupation in 1944, the narrator tells us, \u201cThese are the heroes of the tragedy. Watch them closely for these are the last hours of our lives.\u201d The centerpiece of Wajda\u2019s \u201cWar Trilogy,\u201d and the first Polish film to depict the Warsaw Uprising, Kana\u0142 follows the fighters through a hopeless but heroic journey that will take them into the city\u2019s sewer system, the only place they can survive. Winner of a Special Jury Prize at Cannes (along with Bergman\u2019s The Seventh Seal) and became the first of Wajda\u2019s films to open in the U.S. when it premiered at Dan Talbot\u2019s New Yorker Theater in 1961.\n\u201cI saw ASHES AND DIAMONDS for the first time in 1961. And even back then, during that period when we expected to be astonished at the movies, when things were happening all over the world, it shocked me. It had to do with the look, both immediate and haunted, like a nightmare that won\u2019t stop unfolding; the sense of maddening insanity and absurdity, the tragedy of political infighting on the brink of peace and coming of age during wartime; and the beauty of the lead actor, Zbigniew Cybulski.\u201d \u2013 Martin Scorsese\n\u201cFabulous. It\u2019s a beautiful movie. It was an extraordinary movie for many reasons. It\u2019s less known than it should be, but it\u2019s a beauty.\u201d\u2013 Francis Ford Coppola\n\u201cHauntingly fascinating, brilliantly conceived, and haunting. Packs a great deal of cinematic and just plain raw graphic power.\u201d \u2013 Bosley Crowther, The New York Times\n\u201cWajda\u2019s style is in part naturalistic, in part symbolic. He handles scenes of violence with a furious exactitude and moments of tenderness with a delicacy that never lunges into sentimental excess.\u201d\u2013 Herald Tribune\nAshes and Diamonds\nAndrzej Wajda \/ Popi\u00f3\u0142 i diament \/ 1958 \/ 103min \/ 35mm\nFriday, October 2 at 4:40 6:50 PMSaturday, October 3 at 8:30 PMSunday, October 4 at 4:50 PM \u2013 35mmMonday, October 5 at 12:30 PMWednesday, October 7 at 9:00 PM \u2013 35mmMonday, October 12 at 4:30 PMThursday, October 22 at 5:50 PM\nStarring Zbigniew Cybulski, Ewa Krzy\u017cewska, Wac\u0142aw Zastrze\u017cy\u0144ski\nIn the spring of 1945, weary and disillusioned by the war against the Nazis that has just ended, uncertain about a future under Communist rule, two resistance fighters are under orders to assassinate the incoming district leader. One of the fighters, the brooding Maciek, played by Zbigniew Cybulski (often called \u201cthe Polish James Dean\u201d), falls in love with a local barmaid, and is suddenly torn about how to move forward. As Wajda said about Ashes and Diamonds, almost universally regarded as his masterpiece, \u201cI have tried to reveal to movie audiences the complicated and difficult world of a generation to which I myself belong.\u201d This anguished, romantic, and deeply personal film is an all-time favorite of both Francis Ford Coppola and Martin Scorsese, who placed it as #3 on his top ten list for Sight and Sound.\n\u201cA symbolic film, LOTNA explains Wajda better than any of his other pictures... it is the marvelous poem of a rebel aesthete, of a man who uses a romantic cinema to describe a war the was not in the least romantic.\u201d\u2013 Ado Kyrou, Positif\nLotna \nAndrzej Wajda \/ 1959 \/ 90min\nSaturday, October 3 at 12:15 PMMonday, October 5 at 2:40 PMThursday, October 8 at 6:00 PMMonday, October 12 at 8:50 PM\nStarring Jerzy Pichelski, Adam Pawlikowski, Jerzy Moes, Mieczys\u0142aw \u0141oza, Roman Pola\u0144ski\nPerhaps the most personally meaningful of Wajda\u2019s World War II movies, Lotna was likely inspired by the director\u2019s admiration for his father, a Polish cavalry officer who was killed during the Katy\u0144 massacre in 1940. Lotna is a beautiful white horse, given as a gift by a wealthy landowner to a Polish cavalry troop in the fateful year of 1939. As the Germans attack with planes and tanks, the underequipped Polish army relies on archaic resources, such as the cavalry. Symbolic and at times surreal, the film was controversial at the time of its release for suggesting Polish foolhardiness in the face of the Nazi threat.\n\u201cA sophisticated comedy of seduction, the film oozes with youth and director Andrzej Wajda gives it an intoxicating sensual fizz.\u201d\u2013 Evening Standard\n\u201cWajda shows his anti-heroes as amiable, innocent, rebellious victims of a world-wide atmosphere impregnated with the fall-out of fear and nihilism.\u201d\u2013 Robert Vas, Sight and Sound\n\u201cAll we need to do is watch\u2014delighted by Wajda\u2019s sudden switch to gaiety\u2014with the spontaneous feelings of innocence on one hand and questioning maturity on the other.\u201d\u2013 Monthly Film Bulletin\nInnocent Sorcerers \nAndrzej Wajda \/ Niewinni czarodzieje \/ 1960 \/ 88min \/ 4K restoration\nSaturday, October 3 at 2:20 PMTuesday, October 6 at 4:30 PM\nStarring Tadeusz \u0141omnicki, Krystyna Stypu\u0142kowska\nAfter completing his war trilogy with Ashes and Diamonds, Wajda turned to a more freewheeling and contemporary project. Innocent Sorcerers captures the energy of jazz (banned in Poland until Stalin\u2019s 1953 death) and the spontaneity of the French New Wave as it follows the tentative courtship between Andrzej (Tadeusz \u0141omnicki, star of A Generation), a young doctor who seems more passionate about music than the women who pursue him, and the playfully seductive Magda, who tries to break his cool. Working with emerging young filmmakers, Wajda used a script co-written by Jerzy Skolimowski. Martin Scorsese selected it for his 2014 traveling series \u201cMasterpieces of Polish Cinema.\u201d\n\u201cA visually stunning, incredibly sensual, and increasingly surreal film of breathtaking beauty and terror.\u201d\u2013 The Los Angeles Times\n\u201cA riotous wedding celebration that doubles as a devastating autopsy of a nation in paralysis, Andrzej Wajda\u2019s adaptation of a 1901 beloved classic is as politically urgent as it is visually intoxicating.\u201d \u2013 James Morton, The Independent\nWedding\nAndrzej Wajda \/ Wesele \/ 1972 \/ 106min \/ 35mm\nMonday, October 5 at 6:00 PMThursday, October 8 at 3:30 PM\nStarring Daniel Olbrychski, Ewa Zi\u0119tek, Marek Walczewski, Iza Olszewska\nThe turn-of-the-century wedding between a famed poet and a peasant woman inspired the popular 1901 play The Wedding by Stanislaw Wyspia\u0144ski. Written at a time when Polish intellectuals were trying to find connections with the country\u2019s peasantry, the play is a satire of this idealistic urge, and an allegory for the nation\u2019s history, making it ideal source material for this rarely screened adaptation. A kaleidoscopic whirl of activity, the film follows the revelries of the wedding guests, and things get more surreal as the evening goes on, and figures from Polish history appear, including a king\u2019s jester, a medieval hero, and the leader of a peasant revolt. Wajda creates a fantasmagoria; he says he wanted \u201ca film reality in which the worlds of thoughts, feelings, and occurrences might co-exist on an equal footing; where dream and reality would imperceptibly intertwine.\u201d\n\u201cJerzy\u2019s growing panic is beautifully illuminated in Mr. Zapasiewicz, who manages to find heroic stature in a character who has always compromised. One of the more provocative movies of the year to date.\u201d \u2013 Vincent Canby, The New York Times\nRough Treatment (Without Anesthesia)\nAndrzej Wajda \/ Bez znieczulenia \/ 1978 \/ 131min \/ 35mm\nMonday, October 5 at 8:10 PMWednesday, October 7 at 1:00 PM\nStarring Zbigniew Zapasiewicz, Ewa Da\u0142kowska, Andrzej Seweryn, Krystyna Janda \nA television journalist\u2019s career and personal life unravel simultaneously in this Kafkaesque political drama and paranoid thriller that was the first of five Wajda films scripted by Agnieszka Holland. Made just before the rise of the Solidarity movement, Wajda considers this to be one of his most directly personal and politically timely works, \u201cI made it at a time when the regime realized that other authorities\u2014such as the authority of art\u2014were threatening it, so it had to undermine them all in order to assert its own. Suddenly, there was no longer a social life in the department of the university where I taught. I had to react against it.\u201d\n\u201cWajda has created a very personal, experimental work here, very Polish in mood and inventiveness. It is a haunting homage to the past, a story of elusive contours and shapes which have merely been outlined, now disappearing and dissolving into oblivion.\u201d\u2013 Albert Johnson, for the San Francisco International Film Festival\nEverything for Sale\nAndrzej Wajda \/ Wszystko na sprzeda\u017c \/ 1969 \/ 105min \/ 35mm\nTuesday, October 6 at 2:20 PMSunday, October 11 at 7:40 PM\nStarring Andrzej \u0141apicki, Beata Tyszkiewicz, El\u017cbieta Czy\u017cewska, Daniel Olbrychski\nWajda\u2019s Everything for Sale is a film-within-a-film about a director\u2019s search for his leading man, who goes missing from the set. It was inspired by the tragic death of Zbigniew Cybulski, the beloved star of Ashes and Diamonds who became an iconic cult figure in Polish cinema. Cybulski died trying to jump off a moving train, a stunt he performed in numerous films. Made in an improvisational, self-referential spirit, the film takes numerous Pirandellian twists, including the performance of Daniel Olbrychski, the actor who became a real-life successor to Cybulski playing the actor who replaces the missing star.\n\u201cWith his new film KATY\u0143, Poland\u2019s greatest filmmaker caps his career with the story he waited most of his life to tell.\u201d\u2013 J. Hoberman, The Village Voice\n\u201cWajda has made one of the movies\u2019 most potent evocations of a gruesome twentieth-century ritual... Wajda has exorcised feelings that may have burdened him since he was a teenager: his own father, Jakub Wajda, a decorated fighter in the First World War, was among the officers killed. This tenacious artist has now given his father a proper memorial and has reasserted, with power and grace, the history and identity of his nearly effaced country.\u201d \u2013 David Denby, The New Yorker\n\u201cA film that\u2019s grand, sorrowful, masterful, movin, and (in the end) resolute about bringing reality close to the touch.\u201d\u2013 The Nation\nKaty\u0144\nAndrzej Wajda \/ 2007 \/ 122min \/ DCP\nTuesday, October 6 at 8:35 PMWednesday, October 14 at 12:15 PMSunday, October 18 at 1:00 PM\nStarring Artur Zmijewski, Maja Ostaszewska\nIn 1940, a year after the Nazi invasion of Poland, Soviet forces secretly murdered more than 15,000 Polish officers, intellectuals, and professionals over a three-day period. Stalin\u2019s purpose was to destroy elements of the population who might resist post-war Soviet control. Andrzej Wajda\u2019s father was among the victims, and the Soviet role in the massacre was hidden for decades. Wajda\u2019s unflinching, epic film dramatizes the human story, of both perpetrators and victims. The film was a massive box office success in Poland, provoking a mix of catharsis and controversy. And it was an Oscar\u00ae nominee for Best Foreign Language Film.\n\u201cThis tale backlights like few others the complete darkness represented by the Nazis\u2014crystal-clear goodness was swallowed up with every other human quality and there was nothing to be done about it. The film about the most defiant and heroic Pole of the WWII years leaves behind a devastating sense of hopelessness, of watching evil easily win, on a cosmic scale if only for the time being.\u201d \u2013 Michael Atkinson, Sight and Sound\nKorczak\nAndrzej Wajda \/ 1990 \/ 118min \/ DCP\nWednesday, October 7 at 3:40 PMThursday, October 8 at 8:00 PMFriday, October 9 at 1:00 PMTuesday, October 13 at 4:30 PMSaturday, October 17 at 7:50 PMThursday, October 22 at 12:20 PM\nStarring Wojciech Pszoniak, Ewa Da\u0142kowska, Teresa Budzisz-Krzy\u017canowska, Marzena Tryba\u0142a\nJanusz Korczak was a renowned doctor, teacher, and author who ran a Jewish orphanage in the Warsaw Ghetto, and ultimately sacrificed his life to stay with them until his deportation to Treblinka. With a bracingly unsentimental script by Agnieszka Holland, and stunning black-and-white cinematography by Robby M\u00fcller intercut with actual archival footage, Wajda recreates life in the ghetto in vivid detail. Wajda fought for years to get this film made, claiming \u201cJewish themes in Polish culture have been virtually banned for twenty years.\u201d\n\u201cBrilliantly illuminates one of the most fascinating periods of the French Revolution\u201d \u2013 Vincent Canby, The New York Times\nDanton\nAndrzej Wajda \/ 1983 \/ 136min \/ 35mm\nWednesday, October 7 at 6:10 PMThursday, October 8 at 12:40 PMFriday, October 9 at 3:30 PM\nStarring G\u00e9rard Depardieu, Wojciech Pszoniak, Anne Alvaro\nBased on The Danton Affair, a 1930s play that Wajda directed on stage in 1975, this boisterous and lavish French production starring Gerard Depardieu and scripted by Jean-Claude Carriere, may have seemed like a break from contemporary Polish politics. But Depardieu\u2019s Danton, an earthy, plain-spoken man of the people, was widely seen as a representation of Polish solidarity leader Lech Walesa, and Wojciech Pszoniak\u2019s reserved, cerebral Robespierre, was seen as the iron-fisted military general and Polish president Wojciech Jaruzelski. The film\u2019s politics have been widely debated, but the movie, a rare Wajda production made outside of his own country, was a hit of the 1983 New York Film Festival and an arthouse success.\n\u201cAndrzej Wajda\u2019s Man of Marble is the Polish CITIZEN KANE\u2014with all that implies about the film\u2019s structure, scope, ambition, impact, influence, and choice of protagonist... A dynamic, brilliantly structured, and continually engrossing work with the immediacy of a battlefield dispatch.\u201d\u2013 J. Hoberman, The Village Voice\n\u201cA political epic, compassionate and as bitterly funny as a cartoon... a big, fascinating, risky film that testifies not only to Mr. Wajda\u2019s remarkable vision, but also to the vitality of contemporary Polish life.\u201d\u2013 Vincent Canby, The New York Times\n\u201cIt\u2019s a long, riveting exploration, bitterly comic, utterly convincing, as exciting as a thriller and one of the best records we have of its time.\u201d \u2013 Phillip French, The Observer (UK)\nMan of Marble\nAndrzej Wajda \/ Cz\u0142owiek z marmuru \/ 1977 \/ 161min \/ 35mm\nFriday, October 9 at 6:30 PMSaturday, October 10 at 1:00 PMSunday, October 11 at 1:10 PMFriday, October 16 at 12:30 PMWednesday, October 21 at 12:15 PM\nStarring Jerzy Radziwi\u0142owicz, Tadeusz \u0141omnicki\nAn aggressive documentary filmmaker fights present-day 1970s government censorship as she seeks the truth about bricklayer Matuesz Birkut, a state-manufactured proletariat hero during the Soviet-controlled 1950s. Fourteen years in the making, MAN OF MARBLE is a film-within-a-film that blends documentary, pseudo-documentary, and fictional techniques that inevitably draw comparison to CITIZEN KANE. Like Orson Welles\u2019 masterpiece, MAN OF MARBLE is a reflection on national history and mythology and also on the very nature of filmmaking. It also turned out to prophesize the worker strikes of 1980 and the rise of the Solidarity movement.\n\u201cMAN OF IRON is such an up-to-date report on political events in Poland that one attends to it less as a piece of fiction than as a prime-time television news special.\u201d\u2013 Vincent Canby, The New York Times\n\u201cForged in a white heat, its structure molded by history, MAN OF IRON brings Wajda\u2019s open-ended masterpiece, MAN OF MARBLE, to stunning, dialectical completion. Together, the films form a remarkable political epic, at once prophecy, intervention, and documentation.\u201d\u2013 J. Hobeman, The Village Voice\n\u201cShot at the very epicentre of Solidarity\u2019s activities and featuring an appearance by Lech Wa\u0142\u0119sa, this brave, imaginative film became part of the political process it observed. After winning the Palme d\u2019Or at Cannes, MAN OF IRON was banned at home and Wajda went into exile.\u201d \u2013 Phillip French, The Observer (UK)\nMan of Iron\nAndrzej Wajda \/ Cz\u0142owiek z \u017celaza \/ 1981 \/ 152min \/ 35mm\nSaturday, October 10 at 4:15 PMFriday, October 16 at 4:00 PMThursday, October 22 at 2:50 PM\nStarring Krystyna Janda, Jerzy Radziwi\u0142owicz, Marian Opania\nLiving history made at white heat, the sequel to Man of Marble, made just as the shipyard strikes were unfolding, is its mirror image. Here, the protagonist, also a journalist, is corrupted by the government when he takes an assignment to find dirt that will discredit the strike leaders. Remarkable in its timeliness, Man of Iron features a cameo appearance by Solidarity leader Lech Wa\u0142\u0119sa. Filmed in January of 1981, it premiered months later at Cannes, where it won the Palme d\u2019Or, on its way to become the top Polish box office hit of all time.\n\u201cWith understandable triumphalism devoid of hagiography, Wajda tracks Walesa\u2019s career from shipyard worker to Nobel Prize winner, crafting an old-fashioned (in the best sense), at times stirring biopic that masterfully integrates an exceptional range of contemporary footage.\u201d\u2013 Jay Weissberg, Variety\n\u201cWajda\u2019s storytelling is unfettered, and stars a magnificently moustached Robert Wi\u0119ckiewicz as the cocky, charismatic union leader and Agnieszka Grochowska as his long-suffering wife Danuta... the film is a brilliantly plotted piece of history.\u201d\u2013 Kate Muir, The Times of London\n\u201cA movie with terrific force and irresistible storytelling gusto. It\u2019s an invigorating and very enjoyable film from a director who shows no signs of slowing down.\u201d \u2013 Peter Bradshaw, The Guardian\nWa\u0142\u0119sa: Man of Hope\nAndrzej Wajda \/ Wa\u0142\u0119sa. Cz\u0142owiek z nadziei \/ 2013 \/ 127min \/ DCP\nSaturday, October 10 at 7:20 PMWednesday, October 14 at 7:50 PMThursday, October 22 at 8:00 PM\nStarring Robert Wi\u0119ckiewicz, Agnieszka Grochowska\nIt felt inevitable that Wajda would make a film dramatizing the incredible life of Lech Wa\u0142\u0119sa, who rose from being a shipyard electrician and participant in the 1970 strikes at Gdansk to the leader of the Solidarity Movement a decade later, and then the country\u2019s president and a Nobel Peace Prize winner. Wa\u0142\u0119sa\u2019s story, and the rousing film Wa\u0142\u0119sa: Man of Hope that Wajda made, is the perfect conclusion to the trilogy including Man of Marble and Man of Iron, which seem now to foreshadow Wa\u0142\u0119sa\u2019s rise. True to form, Wajda avoids cliches and gives us an unvarnished, complex portrait, brilliantly interweaving dramatic scenes with documentary footage.\n\u201cThe excitement and joy felt by the \u2018heroes\u2019 as they plan their future as factory owners is embellished by green-forested, pastoral scenes, exemplifying the traditional joys of ordered life among the gentility, so that contrasting looks at the degradation and gloom of the factory workers and their exploitation by greedy industrialists, are like visual descriptions from the worlds of Zola and Dickens.\u201d\u2013 Albert Johnson, \u201cLetter from Cannes,\u201d 1975\nThe Promised Land\nAndrzej Wajda \/ Ziemia obiecana \/ 1975 \/ 163min \/ 35mm\nStarring Daniel Olbrychski, Wojciech Pszoniak, Andrej Seweryn, Kalin Jedrusik\nThe rise of the industrial era and the capitalist boom it engendered are at the core of Wajda\u2019s epic adaptation of the novel by 1924 Nobel Prize winner W. S. Reymont. The film charts the rise and fall of three ambitious tycoons, Karol, a Polish nobleman, Maks, a German hoping to improve on the fate of his father who ran a failing old-time mill, and Moryc, who appears to be disdained except for these valuable connections. Exposing the ways that workers are exploited for the sake of financial growth, the film builds to a powerful climax that connects it to economic conflicts that were simmering in Poland at the time it was made.\n\u201cThis is an angry, vivid, passionate film. Cinema is worse off now that Wajda, one of the truly towering greats of the form, is dead; there is some consolation, though, that he went out with his boots still most defiantly on.\u201d\u2013 Glenn Kenny, The New York Times\n\u201cWajda brings such a controlled fervor to this portrait because it\u2019s clear that, like Strzemi\u0144ski, he identifies as a dissident in dangerous times.\u201d\u2013 Peter Rainer, The Christian Science Monitor\nAfterimage\nAndrzej Wajda \/ Powidoki \/ 2016 \/ 98min \/ 4K DCP\nMonday, October 12 at 6:40 PMMonday, October 19 at 1:00 PMWednesday, October 21 at 6:00 PM\nStarring Bogus\u0142aw Linda\nReleased the year that he died at 90, Wajda\u2019s Afterimage is the perfect coda to a career devoted to depicting the struggle between repressive governments and the free individual. Based on the life of avant-garde painter W\u0142adys\u0142aw Strzemi\u0144ski, who was a target of post-War Stalinist forces, which banned abstract art in favor of state-sponsored Socialist Realism, Afterimage is a classically made drama with a commanding performance by long-time Wajda actor Bogus\u0142aw Linda as the artist. Of his compulsion to make a film about Strzemi\u0144ski, Wajda said, \u201cIt\u2019s good to see what happens when art is supervised, controlled, influenced by authority and censorship.\u201d\n\u201cA gorgeously morbid tale, derived from a famous Polish novel but redolent of Turgenev and de Maupassant.\u201d\u2013 Carlos Clarens, The Soho Weekly News\n\u201cIt is the most intense character drama he has made so far... The lyricism and beauty of the images constantly brighten the darkened souls of these individuals, and one responds with sympathy to their inept control of fleeting joy.\u201d\u2013 San Francisco International Film Festival\n\u201cHere, for the first time, he made a success of a theme both universal and timeless, wrestling with the most deep-seated anxieties of human existence.\u201d\u2013 Micha\u0142ek Boles\u0142aw, The Cinema of Andrzej Wajda\nThe Birch Wood\nAndrzej Wajda \/ Brzezina \/ 1970 \/ 99min \/ 35mm\nWednesday, October 14 at 2:45 PMThursday, October 15 at 5:30 PM\nStarring Olgierd \u0141ukaszewicz, Daniel Olbrychski, Emilia Krakowska\nMade on commission for Polish television, this rarely screened film is a heartfelt gem in Wajda\u2019s filmography. A rural tale of love and death, set deep in the forest and sensually photographed, it follows two brothers; a gloomy widow mourning for his wife while he raises his daughter, and an artist bursting with life-affirming energy and sexual passion despite suffering from tuberculosis. Love and death intertwine as, in a lodge deep in the forest, a dying consumptive pursues a village girl, while his vigorously healthy brother broods over his late wife.\n\u201cOne of the wisest, most civilized comedies in a long time. Features a string of superlative performances by the actresses who play the unlucky sisters, especially the one by Christine Pascal, the French actress, as the beautiful Tunia. Leaves one feeling invigorated, almost like new. Such are the astonishments of art.\u201d \u2013 Vincent Canby, The New York Times\n\u201cWistful, elegiac, seductive.\u201d \u2013 Time Out\nThe Maids of Wilko\nAndrzej Wajda \/ Panny z Wilka \/ 1979 \/ 118min \/ 35mm\nWednesday, October 14 at 5:20 PMThursday, October 15 at 7:40 PM\nStarring Daniel Olbrychski, Anna Seniuk, Christine Pascale, Maja Komorowska\nIn Wajda\u2019s most Chekhovian film, Wiktor, a world-weary veteran returns to the country vacation home of his youth, next to the house of five sisters\u2014each of whom he had courted before going to fight in World War I. As he encounters the sisters anew, hoping to recapture his youth, we see how time has taken its toll.\n\u201cOne of Wajda\u2019s most personal statements on the artist\u2019s commitment to his art and the individual person\u2019s need for integrity, even when faced with the reality of exile.\u201d\u2013 New Yorker Films\nThe Conductor\nAndrzej Wajda \/ Dyrygent \/ 1980 \/ 106min \/ 35mm\nThursday, October 15 at 12:40 PMSaturday, October 17 at 5:30 PM\nStarring John Gielgud, Krystyna Janda, Andrzej Seweryn\nJohn Gielgud is Jan Lasocki, a renowned emigr\u00e9 conductor who returns to his native Poland to conduct a local orchestra. Lasocki finds himself in an unusual love triangle, with Marta, a past love and her husband Adam, the orchestra\u2019s regular conductor. \u201cYou\u2019re jealous about Jan\u2019s music,\u201d Marta tells Adam. \u201cThose who love music are free. Those who can\u2019t love what they don\u2019t do aren\u2019t free.\u201d The film explores the tension between patriotism and art in this allegorical film about freedom, exile, and national identity.\n\u201cIt is so beautifully composed, so elegiacal, it compels attention and will be likely to stay in the memory for a very long time.\u201d\u2013 Vincent Canby, The New York Times\n\u201cThe direction by Wajda is unquestionably a major achievement in the artistic recording of that troubled transition from World War II to peace in central Europe. A picture of this caliber is something to be endured and appreciated as a living page of history.\u201d\u2013 The New York Post\n\u201cLate in the film one realizes that love is the central theme of the story, for it is a potent regenerating force.\u201d \u2013 Jewish Film Institute\nLandscape After Battle\nAndrzej Wajda \/ Krajobraz po bitwie \/ 1970 \/ 109min \/ 35mm\nThursday, October 15 at 3:00 PMSaturday, October 17 at 3:10 PM\nStarring Daniel Olbrychski, Stanis\u0142awa Celi\u0144ska\nThe Polish writer Tadeusz Borowski, survivor of Auschwitz and Dachau, captured his experiences in the short story collection This Way for the Gas, Ladies and Gentlemen, and committed suicide in 1951, at age 29. His memories of life in the camps, and the disorienting experience of trying to return to normal life, inspired Landscape After Battle, a series of vignettes with the great actor Daniel Olbrychski playing Borowski. A young Jewish woman Borowski meets at the Displaced Persons Camp that is the film\u2019s primary setting \u201cyou must forget in order to live.\u201d Wajda\u2019s film eloquently asks how his country can possibly forget, and emerge from the horrors of the war.\n\u201cOlivera Markovic\u2019s on-target performance gives the heroine dignity in spite of all her vanity and vices.\u201d\u2013 Deborah Young, Variety\nSiberian Lady Macbeth\nAndrzej Wajda \/ Sibirska Ledi Magbet \/ 1961 \/ 98min \/ 35mm\nSaturday, October 17 at 12:50 PM \u2013 35mmMonday, October 19 at 3:30 PM \u2013 35mm\nStarring Olivera Markovic, Ljuba Tadic, Kapitalina Eric\nMade in Yugoslavia during a rare period of exile by Wajda, Siberian Lady Macbeth is a tale of adultery and murder based on a Russian novella loosely inspired by the Shakespeare tragedy. \u201cShe was part woman, part volcano... lying, stealing, killing, to keep the man she loved,\u201d blared the tag line of an original movie poster; the film was first released in America as Fury Is a Woman.\nWajda\u2019s concern with the tragic nature of human destiny, with the straits into which it is driven, is given a new dimension.\u201d\u2013 Micha\u0142ek Boles\u0142aw, The Cinema of Andrzej Wajda\nSamson\nAndrzej Wajda \/ Popio\u0142y \/ 1965 \/ 226min \/ 35mm\nSunday, October 18 at 3:30 PMTuesday, October 20 at 5:20 PMWednesday, October 21 at 8:10 PM\nStarring Serge Merlin, Alina Janowska, El\u017cbieta K\u0119pi\u0144ska\nWajda\u2019s most terrifying portrait of a desperate man at bay, as Jakub Gold, in loose parallel to the biblical character, journeys from prison after pre-war anti-Semitic riots, through hiding places during the Occupation, to fulfillment in the Resistance. Wajda\u2019s first Scope film.\n\u201cIn the twists and turns of this complex story, spanning many years and countries, set in times of war and times of peace, amid endless wanderings, encounters, and partings, tempestuous loves, friendships and hates, there was fused a synthesis of what came to be called \u2018Polishness.\u2019\u201d\u2013 Micha\u0142ek Boles\u0142aw, The Cinema of Andrzej Wajda\nThe Ashes\nAndrzej Wajda \/ Popio\u0142y \/ 1965 \/ 234min \/ 35mm\nSunday, October 18 at 6:00 PM\nStarring Daniel Olbrychski, Bogus\u0142aw Kierc, Piotr Wysocki\nWajda\u2019s most expansive historical epic focuses on Poland\u2019s participation in the Napoleonic wars, fighting against the Prussians and Austrians. Wajda focuses on a tortured young nobleman (Daniel Olbrychski, in the role that brought him international stardom) who reluctantly fights for Poland\u2019s freedom while struggling with his own identity.\n\u201cThe contrast between the idyllic life and the awareness of the upcoming disaster adds melancholy to this plot and makes CHRONICLE OF AMOROUS ACCIDENTS perhaps the most beautiful Polish film about the pre-war period.\u201d\u2013 Robert Birkholc, culture.pl\nA Chronicle of Amorous Accidents\nAndrzej Wajda \/ Kronika wypadk\u00f3w mi\u0142osnych \/ 1986 \/ 114min \/ 35mm\nMonday, October 19 at 6:00 PMTuesday, October 20 at 1:00 PM \nStarring Paulina M\u0142ynarska, Piotr Wawrzy\u0144czak\nTwo graduating high school students fall in love in 1939, on the eve of World War II, in a lyrical coming-of-age film set in the idyllic region of Vilnia. The boy\u2019s strict, militaristic father and superstitious mother get in the way of their budding love, and the pair are blissfully ignorant of the turmoil in the real world that will soon engulf their way of life.\n\u201cA finely detailed, astutely crafted film in miniature, a small gemstone that glistens in the memory long after the lights come up.\u201d\u2013 Kirk Honeycutt, The Hollywood Reporter \nSweet Rush\nAndrzej Wajda \/ Tatarak \/ 2009 \/ 85min \/ 35mm\nMonday, October 19 at 8:00 PMTuesday, October 20 at 3:00 PMWednesday, October 21 at 4:00 PM\nStarring Krystyna Janda, Pawe\u0142 Szajda\nAn aging married woman (Krystyna Janda), who lost two sons during the war, becomes fascinated with a strapping young man she encounters one day. In this self-reflexive meditation on death, and the passion of youth, Janda breaks the film\u2019s fourth wall with a powerful monologue on the death of her real-life husband, Edward K\u0142osi\u0144ski (who happened to be the cinematographer of Wajda\u2019s Man of Marble and Man of Iron). Experimental in structure, this moving film is itself beautifully lensed by Pawe\u0142 Edelman, frequent Wajda collaborator who also shot Pola\u0144ski\u2019s The Pianist and The Ghost Writer.\nAndrzej Wajda\nFilm and theater director, screenwriter, and set designer; one of the most prominent creators in the history of world cinema; recipient of an Academy Award for lifetime achievement. He was born on March 6, 1926, in Suwa\u0142ki and died on October 9, 2016, in Warsaw. From 1946 to 1949, Wajda studied at the Academy of Fine Arts in Krak\u00f3w. In 1953, he graduated from the Directing Department at the National Film, Television and Theatre School in \u0141\u00f3d\u017a.\nHe made his feature film debut two years later with A Generation, a story about the fate of youths from the suburbs of Warsaw during the Nazi occupation. He subsequently directed Kanal (1957) and Ashes and Diamonds based on the work of Jerzy Andrzejewski (1958). These two films established him as one of the most important directors of the new generation in Europe. They initiated the famous movement known as the Polish Film School, which engaged in a debate on national martyrological tradition and romantic heroism. In 1959, Wajda directed his first color film, Lotna based on Wojciech \u017bukrowski, and in 1960, Innocent Sorcerers entered the cinema screens. The following year, Wajda directed Samson based on Kazimierz Brandys\u2014which presented the story of a Jew who escaped from the ghetto\u2014followed by two foreign films: the Yugoslav Lady Macbeth of the Mtsensk District (1962) and Love at Twenty, a French-German coproduction (1962). Ashes based on Stefan \u017beromski (1965) provoked the most controversy of Wajda's career up to that point, which was then over a decade long. The director created a work marked by historiosophical reflection, once again redefining the attitude toward Polish identity and tradition. In 1968, Layer Cake based on Stanis\u0142aw Lem was produced, as well as the self-reflexive film about cinema people, Everything for Sale. The catalyst for the film was the tragic death of Zbigniew Cybulski, who played the legendary role of Maciek Che\u0142micki in Ashes and Diamonds. The director's inspiration was Federico Fellini's 8\u00bd, a so-called \"film about a film.\" In 1973, the director made The Wedding based on the drama by Stanis\u0142aw Wyspia\u0144ski. Two years later, The Promised Land based on W\u0142adys\u0142aw Reymont was produced; nominated for an Academy Award, it is one of Wajda's greatest cinematic achievements. In 1976, Wajda directed The Shadow Line based on Joseph Conrad as a Polish-British coproduction.\nMan of Marble\u2014a story about Mateusz Birkut, a shock worker whose 1950s fate is tracked by a contemporary documentary filmmaker\u2014was produced in 1977, although the screenplay by Aleksander \u015acibor-Rylski had been ready over a decade earlier. However, for censorship reasons, it could not be produced for years. The continuation of Man of Marble was Man of Iron (1981), a film pulsating with the contemporary life of Poland, in which the characters' dramas unfold during the memorable August of 1980. The 1970s brought two more films by Wajda: Without Anesthesia (1978), which referenced the trend of cinema of moral anxiety, and The Ma\u90a3\u65f6s of Wilko (1979), another brilliant film adaptation of Iwaszkiewicz's prose, which earned Wajda his second Academy Award nomination. In 1980, The Conductor was produced, featuring the prominent English actor John Gielgud. The 1980s were primarily a period of Wajda's directing work abroad. In France, he directed Danton (1983). In Germany, A Love in Germany (1983) was produced. The only film from this period shot in Poland was Chronicle of \u7231 Love Affairs. In his subsequent productions, Wajda vainly attempted to enter into a dialogue with audiences who, in the 1990s, received his successive films with relative indifference, much like a portion of the critics. Meanwhile, the director tackled various subjects. He directed the biographical film Korczak (1990), and based on Dostoevsky's The Idiot, he directed Nastasja (1994) featuring Japanese actors Tamasaburo Bando and Toshiyuki Nagashima. He returned to wartime themes in Holy Week (1995) based on Jerzy Andrzejewski and the earlier The Ring with a Crowned Eagle (1994)\u2014a film that film historian Jerzy P\u0142a\u017cewski described as the true end of the Polish School of the 1950s. Finally, he brought a popular contemporary novel to the screen: Tomek Tryzna's Miss Nobody (1996). He re-established authentic contact with audiences in 1998, when he adapted Pan Tadeusz based on Adam Mickiewicz. In 2000, the director made The Death of a President (released internationally as The Verdict on Franciszek K\u0142os), and in 2002, he brought Aleksander Fredro's Revenge to the screen. After years of censorship restrictions\u2014and, following 1989, repeated attempts to develop a suitable screenplay\u2014Wajda finally succeeded in addressing the tragedy and the falsehood surrounding the Katy\u0144 massacre. In 2007, he directed Katy\u0144, arguably the most personal film of his entire career. Wajda\u2019s subsequent project was\u00a0Wa\u0142\u0119sa, a film that chronicles Lech Wa\u0142\u0119sa not only as a political leader but also as a private individual\u2014a husband and a father. The final film in Wajda\u2019s oeuvre proved to be\u00a0Afterimages, a narrative detailing how the communist regime systematically destroyed an eminent artist and defiant spirit who opposed the doctrine of Socialist Realism.\"\nSource: Culture.pl\nCo-presented by the Polish Cultural Institute New York and DI Factory, and co-financed by Polish Film Institute. Partner: Documentary and Feature Film Studios.\nPresented with support from The Ashes and Diamonds Fund for Eastern European Film."},{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/#primaryimage","url":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1.jpg","contentUrl":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/09\/1002_Wajda_B_Theater-1.jpg","width":2050,"height":1538},{"@type":"BreadcrumbList","@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/09\/18\/andrzej-wajda-100-retrospective-at-film-forum\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/instytutpolski.pl\/newyork\/"},{"@type":"ListItem","position":2,"name":"Andrzej Wajda 100: Retrospective at Film Forum"}]},{"@type":"WebSite","@id":"https:\/\/instytutpolski.pl\/newyork\/#website","url":"https:\/\/instytutpolski.pl\/newyork\/","name":"Instytut Polski w Nowym Jorku","description":"Instytuty Polskie","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/instytutpolski.pl\/newyork\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"pl-PL"},{"@type":"Person","@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/c732b2695ee92026d080eec35471c7f1","name":"stypulkowskaa","image":{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/a29bb1802c91e057084d5d112dd59dc4?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/a29bb1802c91e057084d5d112dd59dc4?s=96&d=mm&r=g","caption":"stypulkowskaa"},"url":"https:\/\/instytutpolski.pl\/newyork\/author\/stypulkowskaa-2\/"}]}},"_links":{"self":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/21955","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/users\/202"}],"replies":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/comments?post=21955"}],"version-history":[{"count":81,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/21955\/revisions"}],"predecessor-version":[{"id":22150,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/21955\/revisions\/22150"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/media\/22042"}],"wp:attachment":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/media?parent=21955"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/categories?post=21955"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/tags?post=21955"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}