However, that old mode of Polish filmmaking virtually disappeared.
It was progressively more difficult to find work in the theatre, as well.
It turned out that the country was helpless in the face of a new reality.
Even better, there were established two separate committees deciding on state film funding.
As I said earlier, there are no writers who could create a literary vision of the new reality.
Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre.
Nevertheless, in the theatre, and in the cinema, the contemporary reality of Poland has been represented only to a minuscule degree in the last 12 years.
With it adult political audiences abandoned cinemas. In their place appeared a void. That previous political audience migrated to the seats in front of their TV.
In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.