The article presents two dimensions of the relationship between cinema and Polish independence. The first part was devoted to the situation of Polish cinema after 1918. I describe the film market, the political situation, relationship between the state and cinematography, films that were then created and their impact on national identity. Then I focus on films in which independence has become a movie theme. I divide them into three periods: until 1939, the People's Republic of Poland and after 1989. I draw attention to their political and historical contexts, functions and film form, and I discuss the meaning and interpretation of each films.

The title-opposition of the world of friends and of foes is the result of geopolitical strategies which defi ned the status of Poland in the twentieth-century history of the continent, the history full of crises. Several variants of the phenomenon can be distinguished: Revolution as anti-Christian and anti-Polish world; Revolution as a world of progress and the struggle for peace and internationalist order, Revolution as the work of Lenin, Revolution as a perpetrator of Polish independence and Revolution as one of the endless painful experiences of the Twentieth Century.

The paper discusses Jerzy Passendorfer’s Day of Exculpation as movie about Polish-Soviet brotherhood of arms. By learning the history of its production and comparing various versions of its screenplay, shooting script and the fi lm itself one can see contexts and ways of creating an image of Polish-Soviet relations.