11/02/2026
[‘Andrzej Wajda: Portraits of History and Humanity’, screens as part of the Kinoteka Film Festival at BFI Southbank, ICA and Cine Lumiere, London, to March 26, bfi.org.uk]
How filmmaker Andrzej Wajda captured Polish history — and helped shape it
Despite a career spanning seven decades and several masterworks, the director is under-appreciated. A London season aims to put that right
[Image - Director Andrzej Wajda photographed during the shoot of ‘The Possessed’ (1987) © Getty Images]
By Daniel Marc Janes, Financial Times, 10 Feb 2026
When Andrzej Wajda began his career in the early 1950s, Poland was producing five to seven films a year. By 1981, he recalls in his memoir, it was producing 40 for the big screen and another 40 for television. It was his luck to be there at the beginning — and his country’s good fortune that he was able to chronicle and dramatise many key moments of its history.
To call Wajda (1926-2016) Poland’s national filmmaker doesn’t quite do him justice. He was closer to a national conscience. Writer Michael Brooke, a specialist in eastern European cinema, compares him to Giuseppe Verdi in the way he embodied Poland’s struggles. Like Verdi, Wajda had a stint in parliament, serving as a Solidarity senator from 1989-91.
The rest of the world was quick to embrace him. Kanal (1957), the second of his debut War Trilogy, won a Special Jury Prize at Cannes; the third, Ashes and Diamonds (1958), won a prize at Venice. By the end of his 60-year, 40-film career, his accolades included the Palme d’Or (for 1981’s Man of Iron) and, in 2000, an honorary Academy Award (he was also nominated four times for Best Foreign Film). And yet Wajda’s films have been under-appreciated, many of them never released in the UK.
[Image - A still from Wajda’s second world war drama ‘Kanal’ (1957) © BFI National Archive
This neglect stems from his essential Polishness. In contrast to his protégés Roman Polanski and Agnieszka Holland, Wajda was never drawn to Hollywood; he dealt in Polish subjects and spent his life in his native land, save for a forced international foray to France and Germany following the 1981 imposition of martial law. A new BFI season, honouring both the centenary of Wajda’s birth and the 10th anniversary of his death, reaffirms his place as a giant of world cinema. The season, says curator Aga Baranowska, celebrates Wajda as a custodian of Polish history and as one of the great humanists of the medium. His films, she says, are “not only about big History with a capital H, but about individual people and how they find themselves in those moments”.
Wajda was interested in history because he lived so much of it. He was 14 when his father, a cavalry officer, became one of more than 20,000 Polish prisoners of war killed in the 1940 Katyn massacre on the orders of Stalin — a crime that, until 1990, the Soviet Union officially denied. When Wajda was 16, he joined Poland’s anti-Nazi resistance; the greater part of his adulthood, from the ages of 19 to 63, was spent in a dance with the censors of Poland’s Soviet-aligned communist regime. It was only in 2007, with Katyń, that the 81-year-old Wajda brought himself to confront his teenage wounds.
[Image - Robert Wieckiewicz in the title role of Wajda’s ‘Walesa: Man of Hope’, a 2013 biopic of the Solidarity leader and Polish prime minister L**h Wałęsa]
By then, he was a master of the historical opus. He had interpreted Poland’s role in the Napoleonic wars (The Ashes), in the Holocaust (Samson, Landscape after the Battle, Holy Week, Korczak) and in the second world war (the War Trilogy, Lotna). Other films grappled with, even shaped, the present. His seminal diptych, Man of Marble (1977) and Man of Iron (1981), anticipated, then incorporated, the Solidarity movement; the latter film has the urgency of a field report, blending fictional characters with real archival footage of the Gdańsk shipyard strike. L**h Wałęsa, Solidarity leader and later president of Poland, appears as himself.
For many critics, Wajda’s War Trilogy forms the pinnacle of his achievement. Among these is David Thomson, author of the New Biographical Dictionary of Film. “Some artists have their moment,” he tells me. “For Andrzej Wajda it came in the late ’50s, with his trilogy — A Generation, Kanal and Ashes and Diamonds.” A Generation is a neorealist coming-of-age shot in the ruins of Warsaw; Kanal, about resistance fighters escaping the N***s via the city’s sewers, was the first film to portray the Warsaw uprising; Ashes and Diamonds depicts Poland’s bittersweet liberation, freed from the N***s only to be dominated by the Soviets. These are films, Wajda writes in his memoir, with “the truth of an eyewitness account”. Like Roberto Rossellini’s Rome, Open City and René Clément’s The Battle of the Rails, movies he praises, they are “filmed right on the scene of the crime”.
[Image - Ewa Krzyżewska and Zbigniew Cybulski in ‘Ashes and Diamonds’ (1958) © BFI Stills Posters & Designs]
Ashes and Diamonds, a baroque, elegiac noir, is the jewel of Wajda’s filmography. It follows the doomed Maciek (Zbigniew Cybulski), a resistance fighter and an existentialist icon if there ever was one. In his sunglasses, jeans and US military jacket, he is, as Thomson puts it, “a hero to set beside Brando and Dean”.
Maciek, ordered to assassinate a communist official, instead falls in love and develops a crisis of conscience. With its Wellesian deep focus, Christian iconography and touches of German expressionism, it contains some of the most magnificent images committed to film. It is no wonder that its champions include Francis Ford Coppola and Martin Scorsese, who modelled Harvey Keitel’s sunglasses in Mean Streets after Cybulski’s. Scorsese also showed the film to Leonardo DiCaprio as a reference for his moral conflict in The Departed.
[Image - Maja Ostaszewska in ‘Katyń’, Wajda’s 2007 drama about the 1940 Katyn massacre © BFI National Archive]
Wajda, who trained at the Academy of Fine Arts in Kraków, was a born image-maker; the eyewitness needs an eye. It is this role, that of contemporary chronicler, that gives his cinema its enduring moral power. In Katyń and Man of Marble, relentless truth-seekers are stonewalled by the state; Wajda and his fictional surrogates reconstruct history in the face of those who would deny it. To Mauro Javier Cárdenas, a US-based Ecuadorean writer who has been researching the filmmaker for a forthcoming novel, this is at the core of Wajda’s art. “In a time when the horrors we’ve been witnessing are cynically denied or are in the process of being expunged from our virtual memories, the art as testimony of Andrzej Wajda is more relevant than ever,” he says. With this expansive London film season, a new generation can witness the witness.
[‘Andrzej Wajda: Portraits of History and Humanity’, screens as part of the Kinoteka Film Festival at BFI Southbank, ICA and Cine Lumiere, London, to March 26, bfi.org.uk]
https://www.ft.com/content/b44b1b82-5633-4613-8839-de4c0ebde14c
Despite a career spanning seven decades and several masterworks, the director is under-appreciated. A London season aims to put that right