Polish filmmaker Wanda Jakubowska has been creating movies for...展开over 50 years, but her most significant contributions to cinema came from the years around World War II. Her 1946 film
Ostatni Etap/The Last Stage, a chronicle of the relationships formed between female prisoners in Nazi concentration camps based on her experiences while interned in Auschwitz was the first Polish post-war film to gain international distribution; it was also only the second feature produced by the newly formed Film Polski, the state film board. Jakubowska was also a key figure in the founding of START (Stowarzyszenie Milosnikow Filmu Artystycznego/Society for Devotees of Artistic Film) in 1929. This organization attempted to promote the production of films about artistic and social committment.
in 1963 Jakubowska turned back to Auschwitz in her film Koniec naszego Swiata (The End of Our World, 1964), based on Tadeusz Holuj's book. [illustration #6] She presents the narrative as a series of flashbacks, framed by a confrontation in the presence. Henryk, a Polish Auschwitz survivor and Communist, is asked by two American tourists, a young couple, to give them a lift to the Museum on the site of Auschwitz. First reluctantly, then caught by his own memories, he offers them a guided tour. Julia, the young lady turns out to be the daughter of Jews who died in the camp. Her companion instead lacks any personal attachment (or commitment) to this history, asks the most ignorant questions, regards the museum as something not exciting enough, compares Nazis to Communists, and persistently urges the others to film him with his camera. His "unflattering portrayal", as Ewa Mazierska points out, "serves to expose western consumerism, selfishness and moral vacuity and contrast it with the more serious and ascetic attitudes of Poles."