PERSONAL CINEMA is made when nothing is pretended. By its very existence, it is already a fact, although it needn't relate at all to the facts of life. This doesn't mean that it deals with the recording of nature, since nature itself is embodied in its sense of existence.
Thus it possesses all the possibilities of cinema as such, while being a PERSONAL CINEMA - that is to say, a direct projection of the film-maker's thoughts. Having freed itself from fashions and aesthetic rules, as well as from established language codes, it comes closer to the film-maker's own life. One can say that it becomes his love and his passion, yet at the same time, very often, his distorted reflection. Let's film EVERYTHING and it will turn out that we are forever only on the screen: his posture resembles yours, yet his character and personality differ. It is extremely interesting that one can carry on a polemic with oneself via the screen. Go on filming, and carefully observe yourself, critically, with the full awareness that YOU, on the screen, are greater than in nature, since von have a greater facility in the remembrance of past tune. Finally, also take it into consideration that your memory often becomes the memory of those watching Your films.
[1981]
Titles of films representing this tendency: Transmisssion from Moscow (1982), From my window (1978-1984), Notepad (1980-1981), About my fingers (1981), War State (1982), Appeal (1984)..., Movies are power! (1985).
photocycle „From my window”, 1978
videofilm „From my window - 1978/1999”, 2000
videostory „About my fingers”, 1979/1989
Plays of Poles, 1981/1989
Plays of Poles, 1981/1989
