{"id":247034,"date":"2025-05-19T09:26:59","date_gmt":"2025-05-19T09:26:59","guid":{"rendered":"https:\/\/peraltafinancing.com\/animation\/polish-school-of-animation-project-2024-report\/"},"modified":"2025-05-19T09:26:59","modified_gmt":"2025-05-19T09:26:59","slug":"polish-school-of-animation-project-2024-report","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=247034","title":{"rendered":"Polish School of Animation Project 2024 Report"},"content":{"rendered":"


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The Polish School of Animation<\/strong> project’s 2024 year is in full swing. The animation curating and festival screening project (currently having been presented in 42 countries) aims to bring together old masters of Polish Animation and new voices\u00a0<\/a>that have<\/a> a justifiable place in the indie animation canon (and let alone<\/span>\u00a0in the Polish animation scene).<\/p>\n

It was mostly male voices who predominated in the past of Polish animation. The likes of Jan Lenica, Witold Giersz, Ryszard Czeka\u0142a, Jerzy Kucia, \u00a0Piotr Duma\u0142a, <\/strong>and the Oscar-awarded Zbigniew Rybczy\u0144ski<\/strong> ultimately defined the perception of Poland in the international festival scene.<\/p>\n

It is mostly female Polish voices that now predominate in the same scene: from\u00a0 Wiola Sowa <\/strong>to Marta Pajek, Karolina Specht, Renata G\u0105siorowska, Betina Bo\u017cek, Paulina Zi\u00f3\u0142kowska, Marta Magnuska<\/strong><\/p>\n

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The aim of the project is also to draw attention to our young artists, to show the huge difference that currently prevails in the animation industry compared to the last century, where men dominated. It emphasizes the huge role of women in the world of animation and the colossal difference in subject matter and gender proportions since the times of the People\u2019s Republic of Poland – Polish School of Animation Project<\/p>\n

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The project’s programme has been presented this year to KINOTEKA Polish Film Festival<\/strong> (London, UK \/6-28 March 2024), KABOOM Animation Festival<\/strong> (Utrecht, Amsterdam, The Netherlands \/ 5-14 April 2024),\u00a0 Mecal Barcelona International Short and Animation Film Festival<\/strong> \/ Barcelona, Spain, 27.06-7.07.2024),\u00a0Cuore di Polonia<\/strong> (Bologna, Italy \/ 1-7 July 2024),\u00a0ANIMAPHIX New Contemporary Languages Film Festival <\/strong>(Bagheria, Palermo, Italy, 23-28 July 2024), StopTrik International Film Festival<\/strong> (Maribor, 25-29 September 2024),\u00a0Thessaloniki Animation Festival<\/strong> (Thessaloniki, Greece, 17-21 October 2024)<\/p>\n

Almost all the films have recently traveled individually and won festival prizes during their festival appearance; but reflecting on their joint appearance as part of the same programme is like continuing a discussion that started in the Polish animation scene in the late 1950s-early 1960s and has continued since.\u00a0<\/p>\n

The full list of films presented:<\/em><\/h4>\n

Male Eye programme<\/em><\/p>\n

Dom \/ House, dir. Walerian Borowczyk, Jan Lenica (1958, 11\u2019)
Labirynt \/ Labyrinth, dir. Jan Lenica (1961, 14\u201915\u2019\u2019)
Czerwone i czarne \/ Red and Black, dir. Witold Giersz (1963, 6\u201930\u2019\u2019)
Wszystko jest liczb\u0105 \/ Everything Is a Number, dir. Stefan Schabenbeck (1966, 7\u201930\u2019\u2019)
Hobby, dir. Daniel Szczechura (1968, 7\u2019)
Apel \/ The Roll-Call, dir. Ryszard Czeka\u0142a (1970, 7\u201915\u201d)
Droga \/ Road, dir. Miros\u0142aw Kijowicz (1971, 4\u201930\u2019\u2019)
Jak dzia\u0142a jamniczek \/ How a Sausage Dog Works, dir. Julian Antonisz (1971, 8\u2019)
Refleksy \/ Reflection, dir. Jerzy Kucia (1979, 6\u2019)
Tango, dir. Zbigniew Rybczy\u0144ski (1980, 8\u2019)
\u0141agodna \/ A Gentle Spirit, dir. Piotr Duma\u0142a (1985, 12\u2019)
Ze \u015bwiat\u0142em \/ With a Light, dir. Aleksander Sroczy\u0144ski, Janusz Paszek (1986, 9\u201921\u2019\u2019)
\u015amier\u0107 na 5 \/ A-Grade Death, dir. Mariusz Wilczy\u0144ski (2002, 3\u201940\u2019\u2019)
Ichthys, dir. Marek Skrobecki (2005, 15\u2019)
Laska \/ Stick, dir. Micha\u0142 Socha (2008, 5\u2019)
\u015acie\u017cki nienawi\u015bci \/ Paths of Hate, dir. Damian Nenov (2010, 10\u2019)
\u0141a\u017ania \/ Baths, dir. Tomek Ducki (2013, 4\u201920\u2019\u2019)
Ziegenort, dir. Tomasz Popakul (2013, 19\u2019)
Hipopotamy \/ Hippos, dir. Piotr Duma\u0142a (2014, 12\u201930\u2019\u2019)
\u0141owy \/ The Hunt, dir. Mateusz Jarmulski (2018, 8\u2019)<\/p>\n

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Labyrinth<\/em><\/p>\n

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Baths<\/em><\/p>\n

Female Heart Program<\/em><\/p>\n

Bankiet \/ The Banquet, dir. Zofia Oraczewska (1976, 8\u201915\u2019\u2019)
Refreny \/ Refrains, dir. Wiola Sowa (2007, 13\u201915\u2019\u2019)
Dr\u017c\u0105ce tr\u0105by \/ Shivering Trunks, dir. Natalia Bro\u017cy\u0144ska (2010, 3\u2019)
Nieprawdopodobnie elastyczny cz\u0142owiek \/ The Incredibly Elastic Man, dir. Karolina Specht (2013, 5\u2019)
Ab Ovo, dir. Anita Kwiatkowska Naqvi (2013, 5\u201918\u2019\u2019)
Do serca twego \/ To Rhy Heart, dir. Ewa Borysewicz (2013, 10\u2019)
Cipka \/ Pussy, dir. Renata G\u0105siorowska (2016, 8\u2019)
O Jezu! \/ Oh, God!, real\/dir.. Betina Bo\u017cek (2018, 3\u2019 48\u2019\u2019)
Kwadratura Ko\u0142a \/ Squaring the circle, dir. Karolina Specht (2018, 5\u2019)
Jestem tutaj \/ I\u2019m Here, dir. Julia Orlik (2020, 15\u2019)
Cia\u0142o\u015b\u0107 \/ Lushfulness, dir. Weronika Szyma (2020, 5\u201939\u2019\u2019)
W\u0142asne \u015bmieci \/ Your Own Bullshit, dir. Daria Kopiec (2020, 6\u201925\u2019\u2019)
Figury niemo\u017cliwe i inne historie I \/ Impossible Figures and other stories I, dir. Marta Pajek (2021, 16\u2019)
3 geNARRACJE \/ 3 geNARRATIONS, dir. Paulina Zi\u00f3\u0142kowska (2021, 9\u2019)
Koniunkcja \/ Misaligned, dir. Marta Magnuska (2023, 7\u2019)<\/p>\n

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Impossible Figures and Other Stories I<\/em><\/p>\n

<\/em><\/p>\n

I’m Here<\/em><\/p>\n

The project is organized by Ioga, Fundacja Promocji Kultury Artystycznej, Filmowej i Audiowizualnej Etiuda&Anima (International Film Festival Etiuda&Anima). It is co-financed by the Minister of Culture and National Heritage of the Republic of Poland from the Culture Promotion Fund and by the Polish Film Institute.<\/em><\/p>\n

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