Zofia Kujawska is a graduate in Cultural Studies at the University of Warsaw. For several years she’s been organising multiple film and theatre festivals. Since 2017 Zofia has been gaining experience in the field of film production, working on films such as The Balcony Movie [+lee también:
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entrevista: Paweł Łoziński
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entrevista: Eliza Kubarska
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ficha de la película] by Agnieszka Zwiefka is her debut as a producer. An interview with the producer for Polish company Telemark, now selected for the 2025 Emerging Producers programme (read her EP profile here).

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Why do you produce documentaries? Do you see documentary cinema as an instrument of social and political change?
Zofia Kujawska: I am drawn to films that allow me to be truly close to the characters, and for me, the level of authenticity in documentary cinema is unmatched by any other form of filmmaking. I love the feeling of following a genuine story, shaped by lived experiences. Even in the most intimate fiction films, I often sense a degree of artificiality. In contrast, documentaries immerse me instantly – I feel a direct, unfiltered connection to the people and their struggles.

This is also why I believe documentaries are so important. They don’t just inform us about different realities; they make us feel them. They allow us to step into someone else’s shoes, witness their struggles firsthand, and see the world through their eyes. This deeply immersive experience fosters empathy, which is a catalyst for change. It opens the door to cross-cultural understanding and human solidarity.

By opening our eyes to important social issues and human experiences, documentaries have the power to challenge perspectives and inspire action. They often give a voice to the voiceless, demand accountability, and expose injustices. This ability to evoke empathy and spark dialogue is what I believe makes documentary filmmaking so valuable – and potentially transformative.

How do you achieve and maintain work-life balance and foster overall well-being?
To foster my overall well-being in connection with work, I prioritize being outside the city, surrounded by nature, as much as possible. In this environment, I am more focused and relaxed, even while working, so I work remotely as often as I can. After work, this setting allows me to disconnect, recharge, and reset both mentally and physically.

I also make sure to maintain a stable rhythm of work and free time — one that respects my biological clock. I pay close attention to my sleep, as it is essential for both my mental and physical well-being.

I’ve also set boundaries around the amount of time I’m reachable by phone or messaging apps. I keep my phone muted, especially after work and at night, and I’ve turned off notifications in most of the apps for good. This helps me avoid overstimulation.

To relax outside of work, I find joy in painting and photography.

Where do you find audiences for your films?
The films I enjoy making are primarily in the art-house genre, so my core audience consists of festival goers and fans of independent cinema. I search for viewers who are passionate about unique, thought-provoking films that offer something outside of the mainstream, whether it's in terms of storytelling, visuals, or themes. Audiences drawn to deeper, more experimental narratives that challenge conventional filmmaking, and who appreciate the artistic expression and personal vision behind the work.

What projects do you have underway (including fiction films and other projects)?
My upcoming films are Inner Landscapes, a documentary by Zofia Sawicka, and Patodance, a feature fiction by Jędrzej Bączyk.

Inner Landscapes' is a poignant documentary road movie that follows a group of people from diverse backgrounds and nationalities traveling by train across an endless, desolate steppe. This journey out-of-time and space provokes passengers to open up to each other, turning the train’s stuffy interior into a stage for a variety of experiences and emotions, and leading more and more inward. The train becomes a reflection of human journey through life, and the variety of characters and their intimate stories create a unique mosaic of the modern world, shedding light on the condition of our human community.

Patodance is a story about a young, crazy band, famous for its totally unconventional performances and determination to challenge the "system", which earned them a devoted cult following. Comprised of four twenty-year-old friends, the band’s sudden breakup 12 years ago remains a mystery. The only person who witnessed it was a documentary film student, Kasia, who recorded their rehearsal. That tense day, which led to an emotional outburst the musicians couldn’t handle, turned out to be Patodance’s end. A decade after, Kasia still feels that the weight of those events lingers in her life. She has to gather the group one last time to confront them and herself with past mistakes, and close this unfinished chapter of their lives in order to move forward. And to finally complete her film – eagerly awaited by Patodance’s fans! Told in a creative form inspired by music documentaries, Patodance is a coming-of-age story full of humor and twists.

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EMERGING PRODUCERS is a leading promotional and educational project, which brings together talented European documentary film producers. The programme is organised and curated by the Ji.hlava International Documentary Film Festival.

Deadline for applications to the EMERGING PRODUCERS 2026 edition is 31 March 2025.