“The Infinite of Faraway Roads. Overhearing and Watching Zofia Rydet”
(Photography: Stefan Nitosławski, WFO 1989)
A portrayal of Zofia Rydet, one of the greatest Polish photographers, known – among others – for he monumental “sociological record” cycle. The author has included an honest, captivating and personal commentary of Ms. Rydet herself, who shares her opinions on the art of photography, talks about the creative process as well as herself and the people she photographs. The director shows the artist traveling with her camera from house to house, portraying their inhabitants in their everyday environment. The movie has been one of the outliers in Andrzej Różycki’s work of bodies. The author explained the unusual topic by noting Zofia Rydet loved the countryside as much as he did. “The countryside has been fully authentic for her. As it is to me.”
“White Cobra” Grand Prix – Endangered Human Media Festival in Łódź (1990) Bronze Dragon and Journalist’s Prize – Cracow Film Festival – The International Short Film Competition (1990)
“Maria Wnęk’s Calvary”
(Photography: Stefan Nitosławski, WFO 1988)
The movie presents the story of Maria Wnęk, a folk painter from Oszanka. She has been shown attending a pilgrimage to Kalwaria Zebrzydowska. We can also observe her creating her works. The movie uses Ms. Wnęk’s paintings from the Nowy Sącz District Art Museum, psychiatric hospital in Kobierzyn and the private collection of dr. Andrzej Stępniewski. “I did not know Maria Wnęk personally, but I knew her art., her legend”, Różycki reminisced. “She fascinated me as a primitive, naive creator, saddled with a mental disease. I wondered, how to represent this grandiose in a movie? I knew that she attended pilgrimages to Kalwaria Zebrzydowska during the Holy Week. I decided to contrast her with that world. To gain her trust, I had to walk around the altar in Calvary thrice, on my knees. We asked her: ‘Please go where you prefer to, where you usually pray’. And she went to a statue of Mary. We noticed they were both dressed in the same colors, as if she came to one of her own.
Jarosław Furgała’s Prayer in Wood
(Photography: Józef Piwkowski, Lechosław Czołnowski, WFO 1986)
A portrayal of folk artist Jarosław Furgała and presentation of his works – patriotic and religious sculptures. The artist himself considered his sculpturing a form of prayer. His works cover the traditional topics of folk art, such as Pietà, Holy Mary and saints. He’s also the author of Maria Konopnicka’s bust, the Woman in Five Allegories cycle and a series of works depicting rural children. Apart from small sculpting works, he also created a sculpture of prince Henry II the Pious exceeding a meter of height, an almost three meter high sculpture of Copernicus located near the Göttingen city hall and the three meter high sandstone monument of a folk poet Jan Pocek.
To Fly Away (Photography: Lechosław Czołnowski, Czesław Chwiszczuk, WFO 1984))
The movie depicts Krystyna Adamczyk, a folk artist from the Radom region. She lives with her brother and an older mother, maintaining a small homestead – but her main and favorite activity is sculpting wooden birds. She carefully selects her materials and gives them vibrant shapes and colors. The sculpting offers her a chance to escape the difficulties of rural life, helping her feel less lonely. “There are many ways to build a person’s world – the fields, how she makes a living, which timber she chooses, what are her passions”, Różycki explains. She was interesting, but hard to pry stories from. One had to sit long into the night, drink with them to ‘soften them up’, bring forward confessions on the poetry of life, about a man of dreams or to her her sing. The sound had been added in editing, so we had to shoot in such a way to make it look like she’s speaking to the camera.“
“Nativity Scene in Szczawa”
(Photography: Andrzej Nawrocki, WFO 1980)
A documentary about a group of carolers traveling across the countryside with their nativity play. To convince the Educational Films Studio executives it’s a movie worth funding, the director needed to present a good story, a good reasoning behind it. “I told them that the reason to shoot this movie is that it’s a dying tradition and I have found a place where it’s still being practiced”, Różycki reminisces. “In reality, the man who told me about it was in one place, the carolers were in another and I shot in a third one anyway. Though it all occurred in one area.”
“Mask, or the World Since Its Beginning”
(Photography: Lechosław Czołnowski, Jarosław Szoda, WFO 1985)
A record of traditional Christmas and New Year folk ceremonies of southern Poland, with an added ethnographic commentary by Ewa Nowina-Sroczyńska. The movie is focused on the role, interpretations and expression of a mask and a costume.