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Artykuł zawiera analizę filmu Marcina Wrony Demon (2015) pod kątem nawiązań do tematu współodpowiedzialności Polaków za zbrodnie na Żydach podczas II wojny światowej i tuż po jej zakończeniu. Temat główny został osadzony w kontekście poruszających te kwestie filmów dokumentalnych Pawła Łozińskiego Miejsce urodzenia (1992) i Agnieszki Arnold …gdzie mój starszy syn Kain (1999), Sąsiedzi (2001) oraz fabuł m.in. Władysława Pasikowskiego Pokłosie (2012) i Pawła Pawlikowskiego Ida (2013), a przede wszystkim najszerzej dyskutowanego i najbardziej znanego tekstu dramatycznego o sprawie Jedwabnego Nasza klasa (2014) Tadeusza Słobodzianka. Omawiane utwory są analizowane pod kątem sposobu prowadzenia narracji, konstrukcji świata przedstawionego, wreszcie w kontekście formułowanych na ich temat sądów politycznych, historiozoficznych, psychoanalitycznych i moralnych w debacie publicznej.

The article examines how Marcin Wrona’s Demon (2015) reworks the Jewish myth of a dybbuk in order to discuss how and to what extent a spectral haunting may disrupt acts of collective forgetting, which are in turn fueled by repression, repudiation, and ritualized violence. A part of a revisionist trend in Polish cinema, Demon upsets the contours of national affiliations, and in doing so comments on the problematic nature of memory work concerning pre- and postwar Polish–Jewish relations. Because the body possessed by a female dybbuk is foreign and male, the film also underlines gendered aspects of possession, silencing, and story-telling. The article draws on Gothic Studies and horror cinema studies as well as Polish–Jewish studies in order to show how by deploying typical possession horror tropes Wrona is able to reveal the true horror—an effective erasure of the Jewish community, an act that needs to be repeated in order for the state of historical oblivion to be maintained.

WARSAW, Poland - Polish film director Marcin Wrona, whose horror movie \"Demon\" made its world premiere last week in Toronto, has died unexpectedly at age 42, the national film authorities said Saturday. The director of Poland's Film Festival, Michal Oleszczyk, said Wrona \"died suddenly Friday night.\" He asked for no speculation over Wrona's death until the police and prosecutors' investigations are complete.

The director of Poland's Film Festival, Michal Oleszczyk, said [Marcin Wrona] \"died suddenly Friday night.\" He asked for no speculation over Wrona's death until the police and prosecutors' investigations are complete. In Canada, organizers of the Toronto International Film Festival, where \"Demon\" was shown in the World Cinema competition, said they were \"deeply shocked and saddened\" at the news and offered condolences to Wrona's wife and producer, Olga Szymanska.

The director of Poland's Film Festival, Michal Oleszczyk, said [Marcin Wrona] \"died suddenly Friday night.\" He asked for no speculation over Wrona's death until the police and prosecutors' investigations are complete.

[Marcin Wrona], 42, directed the Polish movie Demon, which made its world premiere at the...

Demon Polish writer-director Marcin Wrona unearthed the old Yiddish legend of the dybbuk for this modern tale of a wedding celebration torn apart by demonic possession.

At a wedding in Poland, in a crumbling inherited house, the groom (the Israeli actor Itay Tiran) starts behaving strangely: having visions, spitting up blood, speaking in a woman's voice.

The movie \"truly marked the emergence of a strong new voice on the world cinema stage,\" the organizers of the Toronto International Film Festival said in a statement.

The dybbuk, an ancient element of Jewish folklore, was made famous by \"The Dybbuk,\" a play, and later a movie, by writer and ethnographer S. An-sky. In An-sky's story, the spirit of a deceased kabbalist inhabits the body of his beloved, Leah, who is about to marry another man. In \"Demon\" the dybbuk, Hana, takes similar action, inhabiting the body of the groom because she was denied her own marriage due to her untimely death. Whereas An-sky's play was a reworking of folklore, however, \"Demon\" is a reworking of history. \"The whole country's built on corpses,\" one character says when told of the skeleton supposedly on the property. When Hana speaks through [Piotr], saying in Yiddish, \"Get out of my house,\" it becomes clear that the property is haunted because it was stolen from dead Jews. The \"Demon\" of the title seems less a reference to the spirit of Hana than to the demons haunting all the guests at the wedding. As the night wears on they get drunker and drunker, succumbing to what seems like a mass psychosis. \"Demon\" arrives at a sensitive moment for Poland. Since 2015 the right-wing Law and Justice party has governed the country, and the party's Cabinet approved a bill in August outlawing reference to \"Polish death camps,\" along with other assertions of Polish war crimes. While historians have affirmed that the concentration camps of the Holocaust were the work of German Nazis, not Poles, the law - which makes such references punishable by up to three years in prison - has been viewed as an effort by Poland to whitewash its history. \"You may think we took part in it,\" the government seems to be saying, \"but you only think we did.\"