POLISH FILM ACADEMY

For a long time she would bring to mind a striped skirt and wild eroticism: Malina in Wajda’s Brzezina/The Birchwood based on Iwaszkiewicz’s short story, in shots borrowed from Jacek Malczewski’s paintings she seduced two brothers nearing their deaths. Untamed passion of Jagna Boryna in Chłopi/The Peasants brought her to her end, and in Wajda’s Wesele/The Wedding, in a small role of the Bride’s sister she solidified that simple and natural, if double-bottomed image.
Later she gradually left those roles behind playing more modern, often supporting characters, so that now most people will think of her in terms of the warm characters she’s portrayed in different TV series.
An unconventional choice for the role of a paid assassin in Konecki and Saramonowicz’s Ciało/The Body, but one which turned out to be a bull’s eye.