Agnieszka Holland, one of the most recognized Polish filmmakers, was born on November 28, 1948 in Warsaw. At the age of seventeen she started sending plays to the Czech Film Academy, FAMU, where she studied filmmaking under Milos Forman and Ivan Passer. Her beginning in the film industry started when she returned to Warsaw and began to work as an assistant director on the movies Letters from our Readers by Stanisław Latałło's and Krzysztof Zanussi's Illumination. Holland also collaborated with Andrzej Wajda, an Academy Award-wining director, and the most prominent filmmaker in Poland, in 1976 Man of Marble . Since the movie is sketching the portrait of a 1950s proletariat hero, she was given an experience with which was able to understand the complexity of moral and political issues of a totalitarian, oppressive regime.
Holland made her debut with television …show more content…
Although, the movie Fever was entered into 31st Berlin International Film Festival , A lonely Woman was not distributed until 1987. The reason for that was the portrait of pessimism and depression in the late Polish People’s Republic. According to Robert Birkholc “(…) Holland's perspective, devoid of cheap sentimentalism, and excellent performances by Maria Chwalibóg and Bogusław Linda make Kobieta samotna one of the most moving examples of social cinema in the history of Polish film. “ Moreover, this political drama discusses both gender and national stereotypes, and “(…) re-conceptualizes the traditional interpretation of gender roles and shifts from fixed convention to subjectivity and modality of creativity. According to the Radkiewicz, Holland was inspired with the feminist theory of the 1970s which put under critical observation political representation. Therefore, she concentrates on the individuality and separateness of female persons through her own
Holland made her debut with television …show more content…
Although, the movie Fever was entered into 31st Berlin International Film Festival , A lonely Woman was not distributed until 1987. The reason for that was the portrait of pessimism and depression in the late Polish People’s Republic. According to Robert Birkholc “(…) Holland's perspective, devoid of cheap sentimentalism, and excellent performances by Maria Chwalibóg and Bogusław Linda make Kobieta samotna one of the most moving examples of social cinema in the history of Polish film. “ Moreover, this political drama discusses both gender and national stereotypes, and “(…) re-conceptualizes the traditional interpretation of gender roles and shifts from fixed convention to subjectivity and modality of creativity. According to the Radkiewicz, Holland was inspired with the feminist theory of the 1970s which put under critical observation political representation. Therefore, she concentrates on the individuality and separateness of female persons through her own