Zespół Filmowy "Droga"

An intimate psychological drama consisting of two separate stories, the heroes of which represent the attitudes of young people, which were rarely manifested in the early 1960s.

The hero is a Jewish youth. He, like his family, has always been silent and undemonstrative in the face of prejudice. Now he stands up for his right to survive, and in so doing represents the fighting spirit that culminated in the Warsaw Uprising.

Two zootechnics students, Jacek and Marek, come to the Bieszczady (it's the Polish "Wild West"). Looking for a holiday adventure and income, they become "cowboys" on local cattle grazing. Instead of the expected romantic adventures and the male, hard life, their boredom is becoming their share. Only when Jacek gets a stallion Szaga, things take a different turn.

Two fairies, Terencja and Felicja are in posession of the Lucky Rain Boots, which they intend to give to the most deserving person in the city of Kraków. However, they consistently fall into the wrong hands, creating a multitude of absurd and comedic situations.

A young nurse only has one ampule of medicine. She is faced with the dilemma of which of the two patients to save.

Guests from America came to Poland, and there were three of them. One, a businessman, intends to buy the land from the battlefields in order to cash it for a profit abroad. The second is looking for a wife in his home village, highlander, and the third wants to visit his uncle's family. Will their trip be successful?

The 1937 trial of communist journalists, working for the same student magazine in Vilnius, is shown through the tragic life of the paper's young collaborator Julek Szulc.

A group of boys in pre-war Warsaw fight for the right to train at an abandoned square.

Instead of coming to her own engagement party, Joanna throws herself into New Year's Eve partying. Her fiancé follows her lead.

Soft clouds of light rotate, fan out and change colour: With his cosmic “Luxograms”, Pawłowski radically rethinks the Lumières’ serpentine dance and dematerialises the moving body. It exists neither on a real stage nor in the shape of a real dancer but solely in the projection with a sophisticated system of optical lenses.

A young couple wants to break free of the antagonistic nature of their home village.

A young man, Kuba, is returning from the army. At home, an image of misery and despair remains: the father is seriously ill, and the mother has become emotionally attached to the man who exploits her and intends to take over the farm. After the death of his father, the young man guards the farm, but his girlfriend leaves him. Unable to bear the atmosphere of envy and resentment, Kuba leaves for the city.