Films made in the spirit of the past continued to be made.
At the same time, television theatre became more visibly active.
Cinemas gained new young audiences who wanted films made for them.
There are no writers who could create a literary vision of the new reality.
In the first years after the systemic transition, our screens showed American entertainment that had not been available before, or had been available only sporadically.
The difficulty of writing a good theatre play set in new reality was even greater given that the level of similitude to life that is allowed in a film would not work on the stage.
Language also encodes our past. We want to know who we are. To know who we are, we have to know who we used to be. Consequently, our literature, written in the past, anchors us in that past.
One might have thought that the most significant change in the film industry that would come about with a transition from the communist economy to capitalism would fundamentally concern the sources of funding.
Also a great part of Polish industry proved to have existed only to support the Soviet military industry, and it became superfluous and incapable of being transformed into anything else. We did not foresee that or the magnitude of these phenomena.