Two films dealing with the practice of film on the border of fiction and life: KROTKI DZIEN PRACY (Short Working Day, 1981, Feb. 3, introduction by Kornel Miglus) reflects on the roots of Kieslowski’s cinematic work in documentary film. The film is based on authentic events surrounding a workers' protest in Radom in 1976 – but makes use of fictitious figures. His precise images do not compromise people, but the product of a political party.
Mosz, the AMATOR (Camera Buff, 1979, Feb. 4, introduction by Kornel Miglus), has all he needs: a wife, a child and work. He purchases a camera to film his daughter. His plant management commissions him to document the company's anniversary, whereupon the practice of filming breaks open the old structures of his life.