Hi, Tereska

^director Robert Gliński
^screenplay Jacek Wyszomirski, Robert Gliński
^{director of photography} Petro Aleksowski
^with Aleksandra Gietner, Karolina Sobczak, Zbigniew Zamachowski, Małgorzata Rożniatowska, Krzysztof Kiersznowski
^{awards (selection)}   Eagle, Polish Film Award for Best Film, Best Screenplay, Best Director, Best Actor (Zbigniew Zamachowski), 2002
 Special Prize at Karlovy Vary International Film Festival, 2001
 Young Artist Award (USA) for Aleksandra Gietner and Karolina Sobczak, Best Young Actress in Foreign Film, 2002
 Krzysztof Kieslowski Award for Best Feature Film at Denver International Film Festival, 2001
 Best Director at Festróia – Tróia International Film Festival in Setabual, 2002
 Grand Prix, Golden Lions, Journalists Prize and Golden Claque for the film with the longest applause at the 26th Polish Film Festival in Gdynia, 2001
 the Juliusz Burski award at Lubuskie Film Summer in Łagów, 2002
 Ministry of Culture and Art award for Robert Gliński, 2002
 Warsaw Marmaid (Syrenka Warszawska), Film Critics Club SDP Award, 2001
 Golden Film (Złota Taśma) award of the Writers Association SFP, 2002
 Golden Duck (Złota Kaczka),’Film’ magazine Readers Award, 2002

’DZIENNIK ŁÓDZKI’, 13-14 X 2001

The police in Pabianice detained yesterday 16-year-old Ola, the girl known not only for her excellent role in Robert Gliński’s film ’Hi, Tereska’, but also for her frequent break-outs from the reformatory. She does not attend school, she steals. At the moment of her apprehension the girl declared to the policemen: – I’ll run away again!

ZDZISŁAW PIETRASIK, PITY FOR TERESKA [TERESKI ŻAL], ’POLITYKA’, 2001, NO. 40

Rober Gliński’s film is a classical story about coming of age. When childhood ends the remains of your dreams are dashed to the ground, and rebellious gestures come to nothing (…). The girl protagonists moon aimlessly around their drab housing estate. Within this space life goes on according to its own sluggish rhythm, as if everyone had resigned themselves to their bad fate, including the young – the superfluous (…). The evil in ’Tereska’ is trivial, it actually springs up without any specific reason, as a result of the lack of any coherent system of values (…). Gliński does not belong to Generation 2000, yet his picture offers more truth than the fondled wave of debut-makers.