Polish Film Industry Faces Crisis and Calls for Incentive System Overhaul

by

The hunt continues for a fresh leader to helm the Polish Film Institute, as the resignations of its top officials last year within a short span of six months have left the film industry in Poland at a critical juncture, according to local film experts.

Excitingly, some major players in the industry are preparing to release highly anticipated projects. For instance, Paweł Pawlikowski, an Academy Award winner known for “Ida,” is gearing up for production on “Fatherland,” a biopic about Thomas Mann, the German Nobel Prize-winning author. Additionally, Agnieszka Holland, who has been nominated three times for the Oscar and directed “Green Border,” is working on a biopic of Franz Kafka, which may premiere at fall film festivals.

Currently, Oscar-nominated director Jan Komasa (“Corpus Christi”) is preparing for his upcoming film titled “Good Boy,” which stars Stephen Graham from “Adolescence” and Andrea Riseborough. Meanwhile, Agnieszka Smoczyńska, a favorite at film festivals for her work like “The Silent Twins,” will make her return to the screen with the science fiction thriller entitled “Hot Spot.

This year’s lineup at Cannes features two Polish co-productions made in collaboration with Japan, showcasing films such as “A Pale View of Hills” directed by Kei Ishikawa, which will premiere in Un Certain Regard, and Julia Kowalski’s “Que ma volonté soit faite,” chosen for Directors’ Fortnight. This demonstrates the strong bond within the film industry.

Jan Naszewski, from New Europe Film Sales based in Warsaw, highlights Poland’s significant strength in collaborative productions. He emphasizes the abundance of talented individuals we can contribute to projects,” states Jan Naszewski. Alongside Ireland’s Stop Gap Films, they are teaming up for “A Few Miles South,” the first feature film by U.K. director Ben Pearce. The cinematography for this project will be handled by Radek Ładczuk, who previously worked on ‘Babadook’.

Naszewski notes that we’re a highly appealing collaboration choice for European and English-speaking nations due to our abundance of talent, specialized funding, tax incentives, and skilled and seasoned producers.

This mix of factors has resulted in numerous applause from critics and multiple Oscar nominations for collaborative Polish productions such as “Zone of Interest” directed by Jonathan Glazer, “A Real Pain” starring Jesse Eisenberg, and “The Girl With the Needle,” helmed by Magnus von Horn.

There’s growing concern that the industry may be leaning too heavily towards the top, as Naszewski points out that aside from a handful of prominent directors, Polish cinema isn’t producing enough high-quality theatrical films to compete on an international stage. Talents often choose to create local commercial films, TV series, and streamed productions instead, because the financial backing for these projects is more reliable.

A significant portion arises from inflation, escalating production expenses, and persistent economic instability on a global scale, fueled by apprehensions of a worldwide recession, which are amplified by the confrontational administration of U.S. President Donald Trump. However, Polish industrial experts also emphasize the industry’s inherent vulnerabilities and its dependence on a financing mechanism that is finding it challenging to match the speed of production.

Mariusz Włodarski of Lava Films, who has worked as a co-producer on “A Pale View of Hills” and “The Girl With the Needle,” states that we are encountering a problem where the range of funding sources for films within our nation is limited. He advocates for efforts to create a more resilient environment in this area.

Each year, Poland’s 30% cash rebate program, worth approximately $28.7 million in zlotys, is available to support both domestic and international productions. Due to high demand this year, the competition for the incentive has been incredibly intense. The application platform experienced such heavy traffic that it crashed shortly after opening. As a result, the entire budget was quickly exhausted within hours.

Krzysztof Solek from Film Poland states that relying on the Polish cash rebate for financing isn’t viable. He recently completed work on the limited series “Parallel Me” produced by Gaumont and Paramount+. Solek laments that he missed out on two high-budget U.S. productions this year due to funds being unavailable. He emphasizes the necessity of a revised financial system in Poland, one that aligns with the country’s requirements.

2021 would have been an exceptional milestone for the Polish Film Institute as they celebrate two decades of existence. This timeframe has seen the impressive evolution of the Polish film industry, transforming it into one of Europe’s most daring and vibrant forces.

As a cinema enthusiast, I eagerly anticipate the decision to fill the vacancy left by Karolina Rozwód, who stepped down last October. The uncertainty surrounding her replacement has been lingering for far too long, and I, along with many others in the industry, hope that this appointment will bring a sense of stability back to our field. As an anonymous award-winning producer aptly puts it, “For me to produce top-notch films, I rely on the resources provided by the PFI.

As a movie enthusiast, I’m thrilled to share that the institution has formed a panel of influential figures from the film industry to aid in the decision-making process. Solek assures us there’s a significant drive, both from the government and the industry, to revamp our nation’s struggling incentive program. This political will is substantial, and I can’t wait to see the positive changes it will bring!

He states that all associations and guilds are collaborating closely with the government. It seems as though a brand new system is being developed, one that is likely to be more appealing compared to the existing one.

Read More

2025-05-19 09:19