POLISH FILM ACADEMY

Among dozens of characters created by her are country girls - amidst them the genius Handzia Kaziukowa in Leszczyński’s Konopielka, terrible wives as in Kondratiuk’s Niedziela Barabasza [Barabas’s Sunday] and attractive lovers like in Załuski’s Kardiogram [The Cardiogram]. She has played both period and modern roles alike.
Being a personification of female warmth, it was no accident that she was often cast in children’s films and series and in comedy roles of mothers, aunts and mothers-in-law.
For many people she will always remain Magda from Czterdziestolatek/Turning Forty, a series that beat all the popularity records in the 70s. With just a few brush strokes she can paint a full, rich character, which she proved in Wajda’s Panny z Wilka/The Maids of Wilko. She showed an absolutely different face and the scale of her dramatic talent in Bilet powrotny [Return Ticket] – a film by Ewa and Czesław Petelski based on a script by Jerzy Stefan Stawiński – where she plays a peasant, who decides to emigrate and marry a stranger she doesn’t love to help out her son who stayed behind in Poland.

Magda Sendecka