When the circus leaves town, Zygmunt and Marysia unwittingly adopt a camel into their home. The couple quickly forms a close bond with the nameless camel, but as the bond grows stronger, their neighbors slowly begin to ostracize them.

Zofia, a professor of ethics, is visited by Elżbieta, an American researching the fate of Jews who survived World War II. A daytime classroom conversation turns into a night of confrontation, and Zofia is forced to answer for a decision she made decades ago that directly affected the course of Elżbieta’s life.

As a high school student, Majka bore a child, Ania, whom Majka’s mother, Ewa, has been raising as her own. Now that Majka is ready for motherhood, Ewa refuses to let go, leading Majka to kidnap her own daughter, with unexpected emotional consequences.

A father and daughter, Michał and Anka, have a unique intimacy, which the college-aged Anka is beginning to feel conflicted about. When she finds an unopened letter from her deceased mother, it seems to justify her attraction to Michał, who may not in fact be her father.

It’s Christmas Eve, and Ewa has plotted to pass the hours until morning with her former lover Janusz, a family man, by making him believe her husband has gone missing. During this night of recklessness and lies, the pair grapple with choices made when their affair was discovered three years ago, and with the value of their present lives.

Dekalog ist ein 10-teiliger Filmzyklus, der sich am Beispiel von menschlichen Grundkonflikten und Dilemmata mit den 10 Geboten auseinandersetzt. Inzwischen gehört Dekalog zu den meistgefeierten Filmserien aller Zeiten. Alle Filme spielen in einer Mietskaserne in Warschau kurz vor dem Zusammenbruch des Ostblocks und zeigen die Schicksale der einzelnen Bewohner aus verschiedenen Perspektiven. Alexander Nerlich wird für das Stadttheater Ingolstadt inspiriert von diesen Filmen einen Abend entwickeln.

1988 second part of the television series The Decalogue directed by Krzysztof Kieślowski

1989 film directed by Krzysztof Kieślowski

1989 film from cycle directed by Krzysztof Kieślowski

1988 Film directed by Krzysztof Kieślowski

1988 film from cycle directed by Krzysztof Kieślowski

1988 film directed by Krzysztof Kieślowski

“We tried to draw a broad picture showing that the class which, theoretically at least, was said to be the ruling class, had somewhat different views from those which were printed on the front page of the Trybuna Ludu.” — Krzysztof Kieslowski Robotnicy – Nic o nas bez nas tells a story about Gdańsk Shipyard and its workers after so called Grudzień 1970 (1970 protests). After those events Edward Gierek replaced Władysław Gomułka as party first secretary and promised redical change in style and methods of ruling. Kieślowski shows the skepticism of workers and their attitude to party members. He also pictures conflicts inside the party (PZPR) and usual work in shipyard. The political criticism of this movie made it a target of censorship – it was suspended and cut against the will of director.

Francis Ratay witnesses the theft of church painting "Angel with violin". The entire incident recorded by an amateur camera. The thief turns out to Benedict Weber, gallery owner and art connoisseur. Francis comes to his gallery. Blackmails him, that will provide police record, unless the image in three days back in place.

The Polish doco for the BFI’s Century of Cinema distinguishes itself from all the others in the series by being the only one not to have any film critics, academics, directors, etc providing a commentary. Instead it takes the refreshing route of having ordinary people of all ages talking about what’s special to them about movies – so we get some old folks describing their first trip to the cinema when a lot of people didn’t even know what a film was, memories of what it was like to go to the movies as children, teenagers, and adults before, during, and after WWII, and especially the key scenes from films that have made lasting impressions upon them (not unexpectedly, Wajda’s KANAL strikes a nerve), which are shown in accompaniment, so that it becomes the interviewees who ultimately decide what’s shown in the doco. This kind of stuff is what the ‘100 Years of Cinema’ celebration is really about.

Ten days of preparation for the Monte Carlo rally. The two Polish drivers battle with the technical shortcomings of the Polish Fiat 125 and overwhelming bureaucracy. They did not finish the race. An allegory of the country's industrial and economic problems.

童年的阴影如影随形地伴随着这个家庭的三姊妹苏菲（艾曼纽·贝阿 Emmanuelle Béart饰）、莎莲（嘉莲·维雅 Karin Viard 饰）和安妮（玛丽·吉莲 Marie Gillain 饰）。她们的父亲因为和别人搞同性恋，误把母亲致残，继而自己跳楼身亡。她们带着这个伤口继续着各自的生活。 苏菲怀疑丈夫有了外遇，她费尽心机调查丈夫的行踪，同时对自己的婚姻还仅存一丝希望。然而真相却残酷地摧毁了她的生活。沙莲全心全意照顾瘫痪的母亲，感情一直空白，知道有人，开始追求她，爱护她，为她做浪漫的事儿，可是，这一切都是命运开的一次玩笑。安妮怀着老教授的孩子，可是对方是个不负责任的男人，他只有死去，才能给安妮的恨意消除…捉弄她们的，不止是生活的际遇，还有那个童年的阴影，她们得知了一个意外的真相。

A school teacher from a small town in Poland comes to Warsaw to see his estranged wife, a window dresser, in the hope that she will return to him rather than give him a divorce.