Film Industry

Polish Cinema Today

Funding

Production

Distribution

Exhibition

National Film Archive

Film Schools

Copyright Law

Film Events

Guilds and Unions

Film Production In Poland 2005-2008. An Overview

Cinema Attendance in Poland 2005-2008

Polish Cinema Today
The year 2005 saw the introduction of the Act on Cinematography in Poland and the launch of the Polish Film Institute. The new film law determines the extent of State involvement in film production and other areas of the industry.
Starting in 2006, this resulted in a rapid increase in the number of films being produced in Poland and in inducing the interest of foreign filmmakers in co-productions and film services in Poland. The Polish Film Institute actively promotes Polish cinema on the international level. A foreign film producer, festival manager or international project coordinator looking for Polish partners should turn to the Polish Film Institute for financial consulting and assistance in contacting interested parties.

Funding
The Polish Film Institute has an annual budget of over 36 million EUR (expected revenueas of October 10, 2009), partially funded by a 1.5% levy imposed on TV, cinema and cable operators. The Polish Film Institute awards grants not only for film production, but also other fields of the industry, including film promotion, dissemination of film culture, professional training and film distribution. In 2007 the Polish Film Institute granted over 15 million EUR for film production alone. In 2008 this quota was increased to almost 18 million EUR. The 2010 budget of the Polish Film Institute has 22 milion EUR allocated to film production. In most cases, the Polish Film Institute grants funding up to 50% of the total production budget.
Thanks to the efforts of the Polish Film Institute, the year 2007 brought the launch of regional film funds. By the end of 2008, eight such projects had already been introduced and others were in preparation. Most regional film funds take the form of a competition that selects projects for funding. A basic condition for entering such a competition is creating a link between the city or region and the topic of the film, place of shooting or participation of local residents and businesses.
Poland participates in the two foremost European programmes for supporting the audiovisual industry – Eurimages and the European Union’s MEDIA 2007 programme. Warsaw is home to Media Desk Poland, which assists producers in completing forms and settling the accounts for projects supported by MEDIA.
One of the key investors in film is Polish Television (Telewizja Polska SA). It is to date the largest film producer in Poland. However, commercial TV channels, including Canal+, TVN and occasionally Polsat and HBO Polska also participate in film production.
A foreign producer seeking Polish production partners has a wide range of possibilities. There are a number of businesses specializing in film production services. Most of them focus on a particular field – be it feature, documentary or animation production. Although the majority of players in the film industry consists of private businesses, among them most production, distribution and exhibition companies, there is also a number of State-owned film establishments, a unique element of the structure of the Polish film industry. These regional organizations, currently undergoing ownership transformation, include some of Poland’s largest film studios, small-scale animation studios and film production units¹. However the ownership structure is not at all a key factor, as all Polish private and public entities are eligible for public funding.

Production
The Polish market of film-related services is well developed and many producers choose to make use of existing facilities, which saves them the cost of investing in developing their own production base. There are numerous companies that specialize in services for various stages of production, from casting, lighting equipment and special effects to editing, sound production and finally subtitling. Only a few major studios have complex facilities, offering everything from soundstages to editing services.

Distribution
The film distribution and exhibition market is slightly more concentrated, with approximately a dozen key players. Most film distribution companies have a complex approach to their film product, dealing with everything from cinema distribution to television sales and the DVD market. Polish independent film distribution companies have also recently been increasing their involvement in film production; contributing to the film budget and subsequently acquiring picture rights. This form of co-production has proven very effective and will undoubtedly continue to gain in importance.
The Polish distribution market itself is dominated by Hollywood studios and their affiliates – UIP, Forum Film (Buena Vista International), Imperial CinePix (20th Century Fox) and Warner Bros. Apart from these major players, there are a few local companies that play a key role in the market. One of these is ITI Cinema, the company responsible for the distribution of the biggest Polish films in recent years: Katyń, Lejdis (Ladies), Idealny facet dla mojej dziewczyny (The Perfect Guy for My Girlfriend), Kochaj i tańcz (Love & Dance), Wojna polsko – ruska (Snow White and Russian Red), and Dom Zły (Dark House). Another company worth mentioning is Gutek Film, credited with familiarizing Polish audiences with the works of some of the world’s most prominent filmmakers, including Lars von Trier and Pedro Almodovar. In 2007, the Association of Polish Filmmakers and several leading film producers jointly founded a foundation known as Film Polski. It was established to promote Polish films in Poland and abroad, but also to handle their distribution.

Exhibition
The number of cinemas in Poland today is reaching 800, of which 77 are multiplex cinemas and another five are IMAX. In recent years the number of multiplex cinemas has been increasing steadily. Unfortunately this brought on the inevitable drop in the number of single-screen cinemas, although funding from the Polish Film Institute can help improve their situation in the future.
Thanks to participation in the EUROPA CINEMAS framework, some cinemas in major cities are able to focus on arthouse films, while the mainstream multiplex venues focus on first run pictures. Exhibition of arthouse films is also being developed through the Arthouse Cinema Network (Sieć Kin Studyjnych), financed by the Polish Film Institute and run by the National Film Archive.
In 2007, a record 13 new multiplex cinemas were opened throughout Poland. 2008 brought the launch of only 8 multiplexes in Poland's major agglomerations - the market is now saturated and investors are more interested in launching cinemas in smaller cities. Cinema owners are now counting on getting audiences interested in 3D cinema. It is estimated that by the end of 2009, at least 150 screening rooms throughout Poland have been equipped with Dolby 3D Digital Cinema, most of these belonging to the Multikino, Cinema City and Helios cinema chains. Due to a growing interest in digital cinema, smaller cinemas are currently being equipped with digital projectors through special programmes, like the local initiative in Małopolska, or the National Programme for the Digitalization of Cinemas, run by the Polish Film Institute.

National Film Archive
The Polish National Film Archive (Filmoteka Narodowa) is located in Warsaw. It is in fact the largest film archive in Poland, collecting and preserving film prints, and running a large library of cinematic literature and press. The National Film Archive is involved in a number of educational projects and special programmes for the preservation of Polish cinema heritage. The National Film Archive recently launched a programme for the digitalization of old (i.e. pre-WWII) movies from its own collection.

Film Schools
Education for film professionals is one of the fastest growing segments of the film industry in Poland. Apart from the two leading schools (the renowned National Film Television & Theatre or Łodź Film School in Łódź, and the Radio and Television Department of the University of Siledsia in Katowice) and several prestigious acting schools, young filmmakers can also study film-related fields at most art schools and universities.

Copyright Law
The key industry collective rights organization in Poland is the Association of Polish Filmmakers, actively cooperating with respective parties abroad and representing film directors, cinematographers, set designers and writers. Another authors’ association is ZAiKS, representing mostly writers and composers. Copyright management organizations are increasingly effective in securing royalties; however Internet piracy remains a major problem.

Film Events
There is a growing number of film festivals, educational programmes and other activities aimed at developing film culture in Poland. The largest international film festivals in Poland are: the Warsaw Film Festival (one of A-class festivals as of 2009), Era New Horizons in Wrocław and the documentary Krakow Film Festival. The national Polish Film Festival takes place annually in Gdynia and is a weeklong presentation of recent film production in Poland. Apart from the major events, there is certainly more happening on the smaller, regional scale. Most major cities make efforts to be actively involved in film events, which could be useful for foreign festival coordinators seeking cooperation with Polish partners that could help obtain EU funding for their projects.

Guilds and Unions
The key professional organization in Poland is the Polish Filmmakers Association (SFP) and the National Chamber of Audiovisual Producers (KIPA); however there is also a considerable number of actor guilds and trade unions for film professionals. For an index of the film industry in Poland see the business directory section of this chapter.

Film Production In Poland 2005-2008. An Overview
The years 2000 to 2004 saw a significant decrease in the number of feature film productions in Poland. Although the official number was over 20, these were mostly low-budget indie productions or TV movies. The low number of feature productions was the result of a shortage of public funding. The new Film Law and the launch of the Polish Film Institute led to reversing this trend and marked an increase in film production over the past three years.
By 2006, feature film production in Poland increased to almost 40 films per year. These are mostly medium-budget productions of approximately 800,000 EUR. A low-budget feature debut usually costs approx. 300,000 EUR. The biggest budgets in recent years went to high-profile epic productions based on classic novels. These include Quo Vadis (21 million EUR), Ogniem i mieczem (With Fire and Sword) (6 million EUR), Przedwiośnie (The Spring to Come) (5.8 million EUR) and Pan Tadeusz (3.4 million EUR). These pictures were largely film versions of national epics and as such were virtually guaranteed to be a box-office success. The films made today are modestly budgeted, set in the present day and dealing with modern issues and universal values. In 2006 these included Komornik (The Collector) by Feliks Falk, Plac Zbawiciela (Saviour’s Square) by Krzysztof Krauze and Joanna Kos-Krauze and Dzień Świra (Day of the Wacko) by Marek Koterski, in 2007 – Pora Umierać (Time to Die) by Dorota Kędzierzawska, Futro (Fur) by Tomek Drozdowicz, Korowód (Twists of Fate) by Jerzy Stuhr, Wszystko będzie dobrze (All Will Be Well) by Tomasz Wiszniewski, and many others. The year 2008 brought the release of a number of significant projects, including 33 sceny z życia (33 Scenes from Life) by Małgorzata Szumowska, Boisko Bezdomnych (The Offsiders) by Kasia Adamik, Jeszcze nie wieczór (Before the Twilight) by Jacek Bławut, Mała Moskwa (Little Moscow) by Waldemar Krzystek, Rysa (Damage) by Michał Rosa and Cztery noce z Anną (Four Nights with Anna) – the grand comeback of Jerzy Skolimowski. Key Polish features of 2009 include Rewers (Reverse) by Borys Lankosz, Dom zły (Dark HOuse) by Wojciech Smarzowski, Świnki (Piggies) by Robert Gliński, Galerianki (Mall Girls) by Katarzyna Rosłaniec, Wojna polsko – ruska (Snow White and Russian Red) by Xawery Żuławski, and Tatarak (Sweet Rush) by Andrzej Wajda.
The number of international awards, of which Polish filmmakers received over 40 in 2008 alone, best attests to the quality of new Polish films. Certainly the key events included an Oscar for the animated feature Peter & the Wolf by Suzie Templeton, produced in Poland and in cooperation with Se-Ma-For, and the best foreign film Oscar nomination for Andrzej Wajda’s Katyń. Special mention should also be given to Andrzej Maleszka and his television series The Magic Tree, winner of an Emmy Award, and to Andrzej Wajda, whose latest feature Tatarak (Sweet Rush) won the Alfred Bauer award at the 59th Berlin International Film Festival for "opening new perspectives in the art of cinema".
Recent years have also marked the success of many up-and-coming filmmakers. It is these young people that are changing the face of Polish cinema today. Debut features have often become popular with cinema audiences, but also gained critical acclaim, winning awards at Polish and international festivals. Some of the most interesting film debuts of recent years include Pręgi (The Welts) from Magdalena Piekorz, Oda do radości (Ode to Joy) from the trio of Anna Kazejak-Dawid, Jan Komasa and Maciej Migas, Warszawa (Warsaw) by Dariusz Gajewski, Symetria (Symmetry) by Konrad Niewolski, Edi (Eddie) by Piotr Trzaskalski, Z odzysku (Retrieval) by Sławomir Fabicki, Zmruż Oczy (Squint Your Eyes) and Sztuczki (tricks) by Andrzej Jakimowski, and Rezerwat (reserve) by Łukasz Palkowski. These films received multiple awards at film festivals in Poland and abroad. The success of young Polish filmmakers was once again confirmed at the latest Polish Film Festival in Gdynia – four of the awarded films were made by first- or second-time filmmakers: Rewers (Reverse) by Borys Lankosz (Golden Lions Grand Prize, Best Leading Actress, Best Supporting Actor, Best Photography, Best Music, Best Make-up); Wojna polsko-ruska (Snow White and Russian Red) by Xawery Żuławski (Silver Lions Jury Award, Best Lead Actor, Best Sound, Best Costume Design); Dom zły (Dark House) by Wojciech Smarzowski (Best Director, Best Screenplay, Best Editing), and Galerianki (Mall Girls) by Katarzyna Rosłaniec (Best Directorial Debut). The last of these films is also in the Top 20 list of films released in 2009.

A film’s success is measured not only by the number of awards, but also its popularity with cinema audiences. When looking at mainstream production, it is impossible to overlook the key role played by romantic comedies, which often reach blockbuster success at the box-office and later on the DVD market. The biggest blockbusters of 2007 include Dlaczego nie! (Why not!), Nigdy w życiu! (Never ever!), Tylko mnie kochaj (Just Love Me), Ja wam pokażę! (I’ll Show You!) and Francuski numer (French Number). In 2008 this success was achieved by more movies in this genre – Jeszcze raz Starting Anew), Rozmowy nocą (Midnight Talk), Mała wielka miłość (Expecting Love) and Nie kłam kochanie (Don't Lie, Darling). The best example of the popularity of comedies in Poland is Lejdis (Ladies) by Tomasz Konecki and Andrzej Saramonowicz, with over 2.5 million admissions. This film did not only rank first in the Top 10 list (based on box-office data for the period from 4 January 2008 to 4 December 2008), but also became the most popular Polish comedy in 18 years.
The introduction of the new Film Law and the international activity of the Polish Film Institute helped to increase interest of foreign filmmakers in Poland as a potential partner for co-production. In recent years, Polish firms co-produced films by several acclaimed directors: Strike by Volker Schlöndorff, Nightwatching by Peter Greenaway, Pope John Paul II by John Kent Harrison, It’s a Free World... by Ken Loach, Karamazovi by Petr Zelenka, and most recently Antichrist by Lars von Trier. The years 2006-2009 brought Poland a total of almost 30 international co-productions. Recent co-productions include 33 sceny z życia (33 Scenes

from Life) by Małgorzata Szumowska (Poland/Germany), Cztery noce z Anną (Four Nights with Anna) by Jerzy Skolimowski, Hel (The Rebound) by Kinga Dębska (Poland/Czech Republic), Świnki (Piggies) by Robert Gliński (Poland/Germany), Handlarz cudów (Miracle Seller) by Jarosław Szoda and Bolesław Pawica (Poland/Sweden), Janosik. Prawdziwa historia (Janosik. The True Story) by Agnieszka Holland and Kasia Adamik (Poland/Hungary/Czech Republic/Slovakia), and Operacja Dunaj (Operation “Danube”) by Jacek Głomb (Poland/Czech Republic).

Cinema Attendance in Poland 2005-2008
Current trends in the Polish cinema market are similar to those in other European countries. The biggest box-office and attendance success goes to Hollywood blockbusters that reach similar status worldwide. However, much like in other countries of Central Europe (Hungary, Czech Republic) recent years marked a significant rise in admissions to local films. In Poland these were mainly medium-budget romantic comedies. One thing unique in Poland is the incredible popularity of film biopics of Pope John Paul II (three Top 10 box office hits of 2005-2006) and of films considered historically significant.
2005 marked a global decrease in cinema attendance, with an almost 30% drop in Poland when compared to the record year 2004. Although the number of films released in cinemas increased to a record 224, this found no reflection in attendance or revenue. Total admissions were at 23.3 million, revenues at 331.6 million PLN (approx. 103 million USD). The share of European films in the market also reached an unprecedented 23%, with a record number of 72 premieres. This was a result of Poland's entry into the European Union and subsequent MEDIA funding for film distributors. As for Polish films, there were 24 premieres that year (more than in two previous years), however none reached blockbuster status. This was to change in 2006. The biggest film of 2005 was rather unexpectedly the made-for-TV movie Karol: A Man Who Became Pope, with almost 1.9 million viewers. Eight of the Top 10 films of 2005 were Hollywood productions.
2006 was a much better season for the cinema market in Poland. Admissions increased by about 30%. Nine Polish films had an attendance of over 200,000 viewers, whereas in 2005 no single Polish feature achieved such results. Again, the largest cinema success was held by made-for-TV movies. Apart from 2005's Karol: Człowiek, który został papieżem (Karol: A Man Who Became Pope), two other TV movies about the Polish pope reached blockbuster status, filling slots 2 and 3 of the Top 10 list. The Top 20 list included 12 children's movies and three Polish features (two of them in the Top 10). Polish features held a share of 16% of total admissions (compared to 3.4% in 2005). The number of releases increased slightly to 236, including 27 Polish titles. Six of the Top 10 films were made in Hollywood.
2007 brought a further increase in cinema attendance and an ever-growing popularity of Polish films. Total admissions reached the level of 32.6 million, and the Top 3 films included two Polish features – Katyń (2.74 million viewers) and Testosterone (1.36 million). A record five Polish films made it into the Top 10. They varied in genres – from historical dramas (Katyń) to comedies (Testosterone and Ryś), romantic comedies (Why Not!) and crime (State Witness). In addition, the record-breaking Katyń was screened on 189 prints, whereas State Witness, the last on this list, had a mere 81 prints. The success of Andrzej Wajda's Katyń is unquestionable. This was a film awaited by the entire Polish audience. Its results placed it in the Top 10 of most popular movies since 1989. The only other films to achieve such high attendance in 2007 were movies for young audiences, including three animated films. The biggest hit was Shrek the Third, others included Harry Potter and the Order of the Phoenix, Ratatouille, Pirates of the Caribbean: At World's End and Bee Movie.
In 2008 this good trend for Polish cinema continued. Cinema attendance rose slightly to 31.3 million (based on box-office data for the period from 4 January 2008 to 4 December 2008) and five Polish features made it into the Top 20, including Laydees which ranked first (with over 2.5 million viewers) and Nie kłam, kochanie in second place (almost 1.4 million viewers). The most popular movies of the year included four romantic comedies (each with over 500,000 viewers) and the drama documentary Świadectwo about the life of John Paul II, based on the memoirs of his long-time friend and private secretary, Stanislaw Cardinal Dziwisz.
2008 confirmed the existing trends in Polish cinema. Apart from domestic productions, Polish viewers most enjoyed action and family-oriented movies. The Top 20 list includes Kung Fu Panda, Indiana Jones And The Kingdom Of The Crystal Skull, The Chronicles Of Narnia. Prince Caspian, Wall-E, Asterix aux jeux Olympiques, High School Musical 3: Senior Year, Step Up 2 The Streets and Hancock.

2009 brought a new record in cinema admissions: 39.2 million. 264 films were released, 35 of which were Polish films. The top two films of the year are animated features (Ice Age: Dawn of the Dinosaurs and Madagascar 2), but the biggest hit of the year was Avatar; released only a few

days before the end of the year, it still managed to make it to the 9th slot of the all-year box-office list. Adventure films were very popular in Poland in the past year. Among films ranked in the Top 20 list are: 2012, Harry Potter and the Half-Blood Prince, Angels and Demons, and The Twilight Saga: New Moon. Another three films in the Top 20 are 3D productions. The most popular films of the year also include three Polish features: the dance film Kochaj i tańcz (Love & Dance), with over 1.3 million admissions; the epic Popiełuszko. Wolność jest w nas (Freedom is Within Us. Popiełuszko), also with over 1.3 million admissions; and the acclaimed debut feature and social drama Galerianki (Mall Girls), with almost 600,000 admissions.

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¹ In Polish terminology film production companies are often referred to as Studios (Polish: Studio filmowe), whereas film studios are commonly known under the term Wytwórnia.