Young people spin their cars around in the closed-down industrial grounds. A newlywed pair has their picture taken in dilapidated barracks. A tourist guide drives visitors through the city in his Trabant, pointing out the sites of clashes from 1989. Three scenes from Dariusz Kowalski’s documentary Toward Nowa Huta, which offer splendid illustration of its organization: present and past mutually penetrate and comment on one another rather than forming two separate planes. The film does not have to search for a direct confrontation with the past; the theme presents itself automatically, as it were, like an onsite prop that one would have to pass by, anyway, sooner or later.
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