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Interrogation (1982)

Przesluchanie (original title)
Tonia goes out drinking. She wakes up in prison, not having a clue why she's there. She is tortured to encourage her to confess to a crime she is not aware of.


8 wins & 4 nominations. See more awards »
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Cast overview, first billed only:
Antonina 'Tonia' Dziwisz
Lieutenant Morawski
Major Zawada "Kapielowy"
Communist Witkowska
Miroslawa "Mira" Szejnert
Konstanty Dziwisz (Tonia's husband)
UB officer "Czesiek" arresting Tonia
Jan Jurewicz ...
Jaroslaw Kopaczewski ...
UB officer arresting Tonia
Zofia Balucka ...
Arkadiusz Bazak ...
Officer at Name-Day Party
Krzysztof Gosztyla ...
Alledged victim
Antonina Girycz ...
Cell Top Dog
O. Jasinska


Tonia goes out drinking. She wakes up in prison, not having a clue why she's there. She is tortured to encourage her to confess to a crime she is not aware of.

Plot Summary | Add Synopsis


Crime | Drama | Thriller


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Release Date:

13 December 1982 (Poland)  »

Also Known As:

El interrogatorio  »

Filming Locations:

Company Credits

Production Co:

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Technical Specs


Sound Mix:


Aspect Ratio:

1.37 : 1
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Did You Know?


Completed in 1982, but due to its controversial anti-communist themes, was banned by the Polish government (then under Stalinist rule) for 7 years until 1989 after the disintegration of the Soviet Bloc. See more »


Referenced in The Lesson of Polish Cinema (2002) See more »

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User Reviews

Imprisonment of Antonina Dziwisz
16 March 2013 | by (Villafrati,Sicilia) – See all my reviews

Young cabaret dancer and singer married to an intellectual, are subtly deceived and is arrested by the secret police Polish imprisons her in a women's prison. Here suffered repeated beatings and interrogations in order to make them confess to the alleged anti- nationalist, remaining segregated together with the other held for several years, until the end of Stalinist period. Only those who have lived under the oppressive cloak of an autocratic regime can not conceive the horror and distaste for oppression and brutalization of conscience that comes from the climate of suspicion and coercion of a Stalinist system. The thirty-nine years old director Ryszard Bugajski from Warsaw tell us about it with daring and difficult work that produced a few years before the collapse of Soviet bloc, had to hide because of the ostracism and persecution by the authorities Polish. Forced to emigrate to Canada he made in VHS circular at first, until his distribution in 1989 and into the limelight in Cannes in 1990. This is a work rigorous and required where there is a reference, in the exemplary story of a young patriot, the tragedy and absurdity surreal lived by whole genarations of Polish citizens who passed the occupation and horrors of Nazism to the permutation of a cruel and inhuman tyranny in ruthless monster of a Stalinist regime, the generous sacrifice for their country during the war, the disintegration of their national identity through perverse gears of insinuating control by Polish authorities themselves. The onset of a poignant hymn of love for their country (the beautiful 'Piosenka o mojej Warszawie') in the verses and notes sung by the boys who return from the front is the sad prelude to a generation betrayed by being cruel and mocking the history.The look of the young Bugajski rests on the faces and bodies of the tortured protagonist with cold clarity of a cruel realism, the dissection of the dark evil of a nation reduced to the yoke of a dark presence and immanent rushes individuals hell Kafkaesque a mousetrap. The prison (jail) female hold the cold and damp a great drifting ship where men and mice are forced to necessary cohabitation in Desperate to escape an unlikely, wrecks animated bodies that crave the gasping salvation. In tight spaces a subtle promiscuity reveals the design of a perverse inhuman coercion, it stirs up the dark machinations that sets man against man, a cruel game and sadist who delves in the lowest depths of degradation of man. Rare concessions to symbolism (the seeds on the window sill of watered with spit from desperate cellmates) and to easy melodramatic rhetoric, in this microcosm retraces the tragic fate of a woman stripped of the visible signs of his dignity until complete isolation from his past (the fight for his country, the relationship with her husband and his world) and its future (the child who The first being torn from the womb and then the arms) and yet maintains the integrity of fair who does not abdicate the betrayal or the break-up of his own humanity. The stages of events momentous mark the time of the prison of Antonina Dziwisz Between the 34th anniversary of the October Revolution and the end of the great Soviet tyranny. Prize for the best actress at the 1990 Cannes Film Festival for his extraordinary protagonist Krystina Janda. Unappreciated gem of Polish cinema.

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