This is slightly tangential, but probably more relevant here than elsewhere.
As you doubtless know, Poland has been under new management since the right-wing Law and Justice Party was recently defeated last autumn by a centre-left coalition led by former PM Donald Tusk, and one of the first things the new Tusk administration did was institute a top-to-bottom review of just how much the previous government had sought to exert inappropriate influence on various notionally independent institutions such as the judiciary and the media.
And one of the revelations coming out of this review is that the main Polish broadcaster TVP had
a list of banned films that had been imposed on them by the government, which includes some pretty seminal titles. And by "banned", I mean that TVP has the Polish broadcasting rights but wasn't allowed to exercise them, so the films were effectively prevented from being broadcast legally within Poland.
The linked article may be paywalled, and in any case is in Polish, but the films are:
Mr Jones/
Obywatel Jones (Agnieszka Holland, 2018)
- this seems to be purely because of its director, a major thorn in the previous government's side, as its anti-Soviet and pro-Ukraine stance is otherwise squarely in line with theirs.
Man of Marble/
Człowiek z marmuru (Andrzej Wajda, 1977)
My Mother's Lovers/
Kochankowie mojej mamy (Radosław Piwowarski, 1985)
Pestka (Krystyna Janda, 1995)
- Krystyna Janda is also a prominent Law and Justice Party critic, so this is clearly a personal blacklist.
Man of Iron/
Człowiek z żelaza (Andrzej Wajda, 1981)
- this not only features Janda but is also explicitly pro-Lech Wałęsa (and features him in a cameo), and he's also not keen on the Law and Justice Party.
80 Million/
80 milionów (Waldemar Krzystek, 2011)
- banned because this is in part a celebration of the activities of Solidarity activist Józef Pinior, who is also strongly opposed to the Law and Justice Party.
Fuks (Maciej Dutkiewicz, 1999)
The Big Animal/
Duże zwierzę (Jerzy Stuhr, 2000)
Aftermath/
Pokłosie (Władysław Pasikowski, 2011)
The Citizen/
Obywatel (Jerzy Stuhr, 2014).
- four films featuring father-and-son local megastars Jerzy and/or Maciej Stuhr. The last two are particularly interesting here,
Aftermath because it features Maciej Stuhr playing a man investigating post-WWII Polish-perpetrated anti-Semitism (a major taboo subject under the previous government, to the point of them even threatening to criminalise reputable historians), and
The Citizen because it starred both Stuhrs playing the same character, a satirical caricature of right-wing Polish politicians whose target wasn't exactly subtle. And I suspect the message of the Krzysztof Kieślowski-scripted
The Big Animal, which is all to do with tolerance of "the other" (in this case a refugee camel) also fell foul of Law and Justice's attitude towards people not like them.
Truth Makes Free/
Zieja (Robert Gliński, 2020)
-banned because it stars Andrzej Seweryn, also not a Law and Justice Party fan.
Good Morning, I Love You/
Dzień dobry, kocham cię (Ryszard Zatorski, 2014)
-banned because it stars Barbara Kurdej-Szatan, who has strongly defended people mistreated by Polish soldiers on the border with Belarus.
Playing Hard/
Zabawa zabawa (Kinga Dębska, 2018)
-banned because it referred disparagingly to Law and Justice MP Elżbieta Kruk, and because it discussed abortion.
Roads (Sebastian Schipper, 2014)
-not a Polish film, but banned because of its sympathetic attitude towards refugees in general and immigrants of colour in particular.
Radioactive (Marjane Satrapi, 2019)
-also not a Polish film, but banned because of its warts-and-all portrait of Marie Curie, one of Poland's all-time national heroes.
Goodbye Happiness (Ken Scott, 2020)
-also not Polish, no reason given.
Just Friendship/
Po prostu przyjaźń (Filip Zylber, 2016)
-no reason given.
Unsurprisingly, under TVP's new management, the films are now unbanned and will be publicly screened in the near future. Equally unsurprisingly, the filmmakers and actors quoted in the article regarded the banning of their work by a government they despised as a considerable badge of honour. In fact,
Man of Iron (whose position as one of Polish cinema's canonical masterpieces has been rock-solid for decades) has pulled off that feat twice, as it was also banned by the Jaruzelski government in the early 1980s.