Chciałem zejść z pomnika, najkrócej mówiąc. Poznań 56 Filipa Bajona

In the article the author tries to go beyond the usual interpretation of Bajon’s film as a “truth and reconciliation” movie with a child protagonist (which is also how the following films are interpreted: Robert Glinski’s Sunday Frolics, Wojciech Marczewski’s Shivers, and Krzysztof Zanussi’s Gallop). According to the author the child in Poznań 56 is “merely” an element of a strategy, best explained by the words of the director: “In short, I wanted to get off the plinth”. Bajon’s strategy of demythologization became a cause of the author’s intentions failing to meet social expectations (a need of consolation and factography). Korczarowska-Rozycka searches for traces of this misalignment in reviews accompanying the first screenings of the film. An important interpretive context for Bajon’s film is the tradition of so called anniversary film formed in the inter-war period. According to the author, Bajon implements the strategy of fight against patriotic and religious kitsch typical of anniversary films largely by the use of formal solutions unusual for this type of film. One can assume that Brechtian formal elements (such as formal citations and “inner screens”) present in Poznan 56, are means of signalling one’s distance towards history and its representation in film. According to the author the perfect example of Bajon’s attitude towards the past is presented by the use of the formula of “photographic palimpsest”. Poznań 56 is not the expected report on the June events, but a report from the reading of the “traces” left behind by the events in culture, especially in the iconic culture.