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The mid-1960s saw the beginnings of a trend in Polish cinema that was dubbed - perhaps arbitrarily and rather mechanically - 'the third Polish cinema'.After the first film efforts after the war, which maintained the pre-war style and following the account-settling 'Polish school of films' made by people who had taken part in World War II, young artists entered the scene.This third cinema, searches for the truth about itself, i.e.about the time of the communist stabilization which gave rise to moral problems related to settling down in life, and required people to define their attitude towards the world around them and its ethical norms (Historia filmu dla każdego / A History of Film for Everyone, Warsaw 1977).
What links Skolimowski to the 'New Wave' style is his perception - an everyday, stern, documentary-style view that discovers the extraordinary, discovers poetry in the most ordinary moments of life, and imparts a previously unknown climate to any old chattels and situations.
Watch early films by Jerzy Skolimowski and other classics Jerzy Skolimowski deserves to be called the leading representative of this generation in Polish cinema.
The protagonist of his first films did not gain the approval of those critics who expected films - in accordance with the expectations of the authorities - to present their subject matter in a social perspective, and who thought any individualism to be inappropriate.
(Zygmunt Kałużyński, Polityka 51/1965) Though still a part of the same trend, Barrier, Skolimowski's third film after Identification Marks: None and Walkover, presents a degree of moving away from filming with the aim of portraying reality towards the language of symbols.
This is also a less personal film, perhaps because the director did not play the main role, a fact owed to political factors.
The suspiciousness of some of the critics at the time, writes Tomasz Jopkiewicz - is understandable.