After searching for a new director to lead the search for the Polish Film Academy, after only six months of departure from two academy leaders last year, Polish film professionals say their industry is at a crossroads.

First, the good news: many heavyweights in the industry are already lined up, including Academy Award winner Paweł Pawlikowski ("Ida"), who will produce on "Motherland", a biography of Thomas Mann, a German Nobel Prize winner champion writer Thominee Agnieszka Hilllande, his Nobel Prize writer (the Berth of the Fall Festival, reportedly.

Meanwhile, Oscar nominee Jan Komasa ("Corpus Christi") is preparing for "Good Boy" which includes "puberty" stars Stephen Graham and Andrea Riseborough, while Festival Darling Darling Darling Agnieszka Smoczyńska ("Silent Twins") will be with Sci-Fi-Fi-fi-fi-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Sci-Fi the Slote.

This year’s Cannes lineup includes a pair of Polish minority co-produced--Japanese filmmaker Kei Ishikawa’s “Hill Views”, unnecessarily bowed, and Julia Kowalski’s “Que Mavolontésoit soit soit soit faithite”, selected as director for two weeks, highlighting industry strength.

“Poland is very strong in joint production. Jan Naszewski, who sells clothing new European film sales in Warsaw, notes that we have great talent, and he works with Ireland's stopgap movies on "Miles South South".

"We are an attractive partner in Europe and the Anglo-Saxon countries due to talent, selective funds and tax refunds, and experienced and well-trained producers," Naszewski added.

This combination led to a string of praise for the Polish joint production and a string of Oscars, including Jonathan Glazer's "Area of ​​Interest", Jesse Eisenberg's "Real Pain" and Magnus von Horn's "The Girl of Needle".

However, many are concerned that the industry is getting higher and higher, Naszewski noted: “Portugal has not made dramatic films powerful enough to travel internationally, except for a few mature directors. Talents choose to make local commercial films, as well as streaming series and films because funds are safer.”

Part of that is a byproduct of inflation, rising production costs and ongoing global economic uncertainty, fearing that President Donald Trump’s saber-fighting administration would be turbocharged. However, Polish industry professionals have also pointed to the structural weaknesses of the industry and its reliance on financing systems that strive to keep up with production speeds.

“We are facing a crisis of diversity in the source of film financing within our country,” said Mariusz Włodarski of Lava Films, co-producer of “the pale view of the hillside” and “the girl with needles.” “We need to try to make this ecosystem more sustainable.”

Poland's 30% cash discount has an annual budget of 108 million zloti (about $28.7 million) to support domestic and international production, and competition is so intense this year that shortly after the online app platform opened, the server crashed. The total budget is allocated within a few hours.

"You can't base your Polish cash rebates on the basis of his recent packaging for Gaumont and Paramount+ in the limited series "Parallel Me". Salk said he lost in two large-scale American productions this year because "the money has disappeared", adding: "We need a new system that is the same as Polish needs." ”

It was supposed to be a year for the Polish Film Academy, which celebrated its 20th anniversary, a period that witnessed the remarkable development of Polish industries and became one of Europe's most daring and dynamic.

Instead, six months after being appointed to replace Radosław ~migulski, the head of the long-term institute, to explore the replacement of former director Karolina Rozwód, who resigned for six months, has eagerly awaited a solution and hoped that the institute would once again bring some stabilization measures to the industry. As an award-winning producer, he asked to remain anonymous said: “To enable me to make (high-quality) movies, I need to be able to use PFI.”

To its credit, it appointed a leading committee of industry figures to help with the selection process, with Salk insisting that both the government and industry have “big political will” to overhaul the country’s tortured incentive plans.

“We are working closely with the government, all associations, guilds,” he said. “It feels like there will be a new system that is more attractive than our current one.”