Visions du Réel winner Tomasz Wolski will focus on “A Year in the Life of the Country” next, Variety can reveal exclusively.
The Polish helmer – whose latest film “In Ukraine,” co-directed with Piotr Pawlus, premiered in Berlin – is set to explore the turbulent period of martial law, imposed on Dec. 13, 1981 by General Wojciech Jaruzelski in Communist Poland after a wave of strikes.
Anna Gawlita will produce for Kijora Film.
“It’s a topic we haven’t really looked at just yet. These are very important stories, often tragic, and I was convinced that unlike in the case of ‘1970’ [his previous film about brutal suppression of worker protests], I would have almost too much material to work with. I wasn’t mistaken,” he says.
In the upcoming film, Wolski will depict the turmoil that ensued, with soldiers controlling the cities, imprisoning Solidarity members and officials trying to discredit Nobel Peace Prize laureate Lech Wałęsa. He will also show the events that led to its introduction.
The Polish helmer – whose latest film “In Ukraine,” co-directed with Piotr Pawlus, premiered in Berlin – is set to explore the turbulent period of martial law, imposed on Dec. 13, 1981 by General Wojciech Jaruzelski in Communist Poland after a wave of strikes.
Anna Gawlita will produce for Kijora Film.
“It’s a topic we haven’t really looked at just yet. These are very important stories, often tragic, and I was convinced that unlike in the case of ‘1970’ [his previous film about brutal suppression of worker protests], I would have almost too much material to work with. I wasn’t mistaken,” he says.
In the upcoming film, Wolski will depict the turmoil that ensued, with soldiers controlling the cities, imprisoning Solidarity members and officials trying to discredit Nobel Peace Prize laureate Lech Wałęsa. He will also show the events that led to its introduction.
- 10/31/2023
- by Marta Balaga
- Variety Film + TV
Leave No Traces Venice, day nine. There’s something almost ineffably melancholic about watching a festival empty out. As I type these words, twenty-four hours or so before the awards will be announced, the press room I’ve spent an unhealthy amount of time in, is now home to a smattering of survivors. The end is nigh, people are flocking home, and the jury led by Bong Joon-ho is busy picking this year’s winners somewhere on the island. It’s been a strange, uneven ride, with a lineup so front-loaded it was perhaps only natural that the fest’s second week wouldn’t live up to the sheen of the first few days. But the last stretch was still home to some belated surprises, among them, Jan P. Matuszyński’s Leave No Traces. A follow-up to his 2016 Locarno prizewinning The Last Family, Matuszyński’s second feature is based on...
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