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At the time when Człowiek na torze [Man on the Track] was being made, the erosion of orthodox aesthetic canons began with the social and observational layers. This is exemplified by two works characteristic of this period: Braun's Lewanty [The Levant] and Ścibora-Rylski's Sprawa Szymka Bielasa [The Case of Szymek Bielas] (unproduced screenplay). This new trend is dominated by images of the everyday living conditions of workers, often bitter and gray, emphasizing the hardship of their daily existence. Adopting a documentary point of view, the authors introduce substantial fragments of unvarnished reality into literature.Read moreLess
At the time when Człowiek na torze [Man on the Track] was being made, the erosion of orthodox aesthetic canons began with the social and observational layers. This is exemplified by two works characteristic of this period: Braun's Lewanty [The Levant] and Ścibora-Rylski's Sprawa Szymka Bielasa [The Case of Szymek Bielas] (unproduced screenplay). This new trend is dominated by images of the everyday living conditions of workers, often bitter and gray, emphasizing the hardship of their daily existence. Adopting a documentary point of view, the authors introduce substantial fragments of unvarnished reality into literature.
The story
At the time when Człowiek na torze [Man on the Track] was being made, the erosion of orthodox aesthetic canons began with the social and observational layers. This is exemplified by two works characteristic of this period: Braun's Lewanty [The Levant] and Ścibora-Rylski's Sprawa Szymka Bielasa [The Case of Szymek Bielas] (unproduced screenplay). This new trend is dominated by images of the everyday living conditions of workers, often bitter and gray, emphasizing the hardship of their daily existence. Adopting a documentary point of view, the authors introduce substantial fragments of unvarnished reality into literature.
Cast & crew
Jerzy AntczakCastExplore the crew
- Director
- Mieczysław Waśkowski