This is not a love story though it is full of love. It is not a comedy though the characters often say funny things. It is not a detective story even though the hero is trying to solve a murder. It is not a nature drama though it shows the splendid colours and customs of the countryside. It is not a musical though Lubica expresses her longing in a passionate dance. Nor is it a film about ghosts though a ghost does ask the hero for a favour. A few draughts of Strawberry Wine are enough to take us into a magical world in the true centre of Europe, where love, crime and penitence are just as much a part of life as the changing of the seasons, the migration of birds or the flowing of a mountain stream.
Giordano, an angel assigned to an orphan in Krakow, is two years into the job when his celestial overseers, citing budget cuts, initiate "Phase Two" without telling him. Some changes are good - they send him a nanny, the enterprising Irena; some are bad - his phone number to Heaven no longer works nor do his special powers; and some dismay him - he grows a penis. His closest friend tells him to get a woman, and Irena advises him on hygiene. He visits a therapist, Roma, and falls in love with her. She tells him its transference. Meanwhile, Giordano's celestial friends conspire to rid Roma of her boyfriend, clearing the way for Giordano to be his naive and engaging self.
A two-part historical film covering the years of the First World War and the post-war period up to 1919 - until the signing of the peace treaty in Versailles near Paris. An attempt to show the great and complicated process of regaining an independent existence by a nation within its own state. The screen shows characters from history textbooks: Józef Piłsudski, Ignacy Paderewski, Roman Dmowski, Wojciech Korfanty as well as representatives of the world political scene, incl. David Lloyd George, Woodrow Wilson, Georges Clemenceau, Vladimir Lenin and others.
Filip Mosz es un obrero que descubre gracias a una súper 8 los poderes de las grabaciones cinematográficas. Destinada a grabar los primeros pasos de su bebé, la cámara se convierte en herramienta de exploración y análisis del mundo: fábricas, obreros, ciudades, poblaciones, recuerdos, relaciones de poder y trabajo A medida que Filip encuentra nuevos temas, el mundo cambia. Esta actividad lo aleja de su mujer, empeora su relación con su jefe y provoca rupturas y malentendidos. Tanto su vida privada como su vida social se vuelven inestables como si el cine influyera en la realidad.
