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Isabella Rossellini: Watykan to patriarchalna przestrzeń. Rolą kobiety jest bycie niewidzialną - Film - Kultura
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class="ods-c-breadcrumbs-separator" data-icon="CaretRight"> <use href="#ai:local:CaretRight"></use> </svg><a class="ods-c-breadcrumbs-item" href="https://kultura.onet.pl/film/wywiady-i-artykuly">Wywiady i artykuły</a><svg width="16" height="16" viewBox="0 0 24 24" class="ods-c-breadcrumbs-separator" data-icon="CaretRight"> <use href="#ai:local:CaretRight"></use> </svg><span class="ods-c-breadcrumbs-item ods-c-breadcrumbs-item--current">Isabella Rossellini: Watykan to patriarchalna przestrzeń. Rolą kobiety jest bycie niewidzialną [WYWIAD]</span></div><script type="module" src="https://cdn.kultura.onet.pl/static/assets/1.32.83/Breadcrumbs.astro_astro_type_script_index_0_lang.BZ4dlc_b.js"></script><div class="g-container"> <div class="left-column ods-g-cspan-6"><span data-article-start></span><article content-length="13217" content-paywall-length="11759" class="ods-article-lead" data-section="article-lead"><h1 class="ods-c-title__text"> Isabella Rossellini: Watykan to patriarchalna przestrzeń. Rolą kobiety jest bycie niewidzialną [WYWIAD] </h1><div class="ods-c-authorship" data-section="author-top"> <div class="ods-c-authorship__row ods-c-authorship__row-simple"><a href="https://kultura.onet.pl/autorzy/anna-tatarska" class="ods-c-one_author ods-c-one_author--link"><div class="ods-c-one_avatar"> <img src="https://cdn.kultura.onet.pl/1/o86k9k2aHR0cHM6Ly9jZG4ua3VsdHVyYS5vbmV0LnBsL2ltZy9hdmF0YXJfcGxhY2Vob2xkZXIucG5nkZMFOjreAAKhMAehMQQ" height="58" width="58" alt="Autor Anna Tatarska" class="ods-c-image__img ods-c-image__img--placeholder" loading="lazy"> </div><span class="ods-c-one_author__name">Anna Tatarska</span></a></div> <div class="ods-c-authorship__row"> <div class="ods-c-date"><time class="ods-c-date-publication" datetime="2025-02-16T09:00:00+01:00">16 lutego 2025, 09:00</time></div> <div class="ods-c-share" data-section="share-top" data-omp-event-category="share-top-menu"> <button type="button" aria-label="Udostępnij" data-omp-event-name data-omp-event-url class="ods-c-button ods-c-button__small ods-c-button__outlined ods-c-share__button"><svg width="1em" height="1em" viewBox="0 0 24 24" class="ods-c-button__icon ods-c-button__icon-text" data-icon="ShareNetwork_filled"> <use href="#ai:local:ShareNetwork_filled"></use> </svg><span>Udostępnij</span></button> <div class="ods-c-share__dropdown"> <span class="ods-c-share__title">Udostępnij przez</span> <ul class="ods-c-share__container"> <li class="ods-c-share__li"> <a class="ods-c-anchor ods-c-anchor__big ods-c-anchor__neutral" href="https://www.facebook.com/sharer.php?u=https://kultura.onet.pl/film/wywiady-i-artykuly/isabella-rossellini-watykan-to-patriarchalna-przestrzen-rola-kobiety-jest-bycie/8d7wxnf" target="_blank"><svg width="1em" height="1em" viewBox="0 0 24 24" class="ods-c-anchor__icon ods-c-anchor__icon-text ods-c-anchor__primary" data-icon="Facebook_filled"> <use href="#ai:local:Facebook_filled"></use> </svg><span>Facebook</span> </a> </li> <li class="ods-c-share__li"> <a class="ods-c-anchor ods-c-anchor__big ods-c-anchor__neutral" href="https://x.com/intent/tweet?text=Isabella%20Rossellini%3A%20Watykan%20to%20patriarchalna%20przestrze%C5%84.%20Rol%C4%85%20kobiety%20jest%20bycie%20niewidzialn%C4%85%20%5BWYWIAD%5D%0D%0A%0D%0Ahttps://kultura.onet.pl/film/wywiady-i-artykuly/isabella-rossellini-watykan-to-patriarchalna-przestrzen-rola-kobiety-jest-bycie/8d7wxnf" target="_blank"><svg width="1em" height="1em" viewBox="0 0 24 24" class="ods-c-anchor__icon ods-c-anchor__icon-text ods-c-anchor__primary" data-icon="TwitterX_filled"> <use href="#ai:local:TwitterX_filled"></use> </svg><span>X</span> </a> </li> <li class="ods-c-share__li"> <a class="ods-c-anchor ods-c-anchor__big ods-c-anchor__neutral" href="mailto:?subject=Przeczytaj%20artyku%C5%82%3A%20Isabella%20Rossellini%3A%20Watykan%20to%20patriarchalna%20przestrze%C5%84.%20Rol%C4%85%20kobiety%20jest%20bycie%20niewidzialn%C4%85%20%5BWYWIAD%5D&body=Isabella%20Rossellini%3A%20Watykan%20to%20patriarchalna%20przestrze%C5%84.%20Rol%C4%85%20kobiety%20jest%20bycie%20niewidzialn%C4%85%20%5BWYWIAD%5D%0D%0A%0D%0Ahttps://kultura.onet.pl/film/wywiady-i-artykuly/isabella-rossellini-watykan-to-patriarchalna-przestrzen-rola-kobiety-jest-bycie/8d7wxnf" target="_blank"><svg width="1em" height="1em" viewBox="0 0 24 24" class="ods-c-anchor__icon ods-c-anchor__icon-text ods-c-anchor__primary" data-icon="EnvelopeSimple_filled"> <use href="#ai:local:EnvelopeSimple_filled"></use> </svg><span>E-mail</span> </a> </li> <li class="ods-c-share__li ods-c-share__copy-link" data-omp-event-category="share-top"> <button type="button" class="ods-c-anchor ods-c-anchor__big ods-c-anchor__neutral ods-c-share__copy-button" data-omp-event-name="Kopiuj link" data-omp-event-url=""><svg width="1em" height="1em" viewBox="0 0 24 24" class="ods-c-share__icon-copy ods-c-anchor__primary ods-c-anchor__icon" data-icon="Copy_filled"> <use href="#ai:local:Copy_filled"></use> </svg> <svg width="1em" height="1em" viewBox="0 0 24 24" class="ods-c-share__icon-check ods-c-anchor__primary ods-c-anchor__icon" data-icon="CheckRegular_filled"> <use href="#ai:local:CheckRegular_filled"></use> </svg> <span class="ods-c-share__text">Kopiuj link</span> </button> </li> </ul> </div> </div> </div> </div><section class="ods-c-lead"> <p class="ods-c-lead-text">— Watykan to patriarchalna przestrzeń, w której rolą kobiety jest bycie niewidzialną. Kobiety służą, muszą wykazywać szacunek dla mężczyzn. Ale to nie odbiera im szansy posiadania autorytetu, ich głos wciąż może być słyszalny. Moja bohaterka nie mówi wiele, ale jej milczenie jest bardzo wymowne — zdradza w wyjątkowej rozmowie z Onetem słynna aktorka Isabella Rossellini. Za swoją rolę w filmie "Konklawe" jest nominowana do Oscara.</p> </section> <script type="module" src="https://cdn.kultura.onet.pl/static/assets/1.32.83/Lead.astro_astro_type_script_index_0_lang.BGHliVaI.js"></script><section class="ods-c-lead-image"> <div class="ods-c-lead-image__image-container"> <div class="ods-c-lead-image__image-wrapper"> <img src="https://cdn.kultura.onet.pl/1/5ftk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9mODRjZTBmNmU2YmNlMGMzZjM3ZDFlMjdlNmRmNzVlZC5qcGeSlQMAzKvNC7jNBpiTBc0EsM0Cdt4AAqEwB6ExBA" height="500" width="940" srcset="https://cdn.kultura.onet.pl/1/Qruk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9mODRjZTBmNmU2YmNlMGMzZjM3ZDFlMjdlNmRmNzVlZC5qcGeSlQMAzKvNC7jNBpiTBc0DrM0B9N4AAqEwB6ExBA 940w" sizes="(min-width: 940px) 940px, 100vw" alt="Isabella Rossellini w filmie "Konklawe"" fetchpriority="high" decoding="sync" class="ods-c-image__img"> </div> <div class="ods-c-image-description ods-c-image-description--lead" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.44;"><span class="ods-c-image-description__text ods-c-image-description__text--lead" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.44;">Isabella Rossellini w filmie "Konklawe"</span><span class="ods-c-image-description__source ods-c-image-description__source--lead" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.44;">Philippe Antonello / mat. prasowe</span></div> </div> </section></article></div><aside class="right-column ods-g-cspan-2"><aside class="ods-ads__ad-space" data-identifier="right-column-lead" style="flex-grow:1"> <ad-floating-group data-configuration="{"on":true,"slotName":"right","lazyPercentage":"","floatingHeight":"","containerHeight":"","slotsNumber":"","expanding":false,"position":0}" class="ods-ads__floating-group" style="flex-grow:1"></ad-floating-group> <script type="module" src="https://cdn.kultura.onet.pl/static/assets/1.32.83/FloatingGroupAd.astro_astro_type_script_index_0_lang.D5AHUpfw.js"></script> </aside></aside> </div> </div> <ad-default data-configuration="{"slotName":"top","floating":true,"position":0}" class="ods-ads__ph ods-ads__ph--floating top" style="min-height:320px"></ad-default> <script type="module" src="https://cdn.kultura.onet.pl/static/assets/1.32.83/DefaultAd.astro_astro_type_script_index_0_lang.C-z9Xzrn.js"></script> <div class="main-content"> <div class="g-container"> <div class="left-column ods-g-cspan-6"><article content-length="13217" content-paywall-length="11759" class="ods-article-body" data-section="article-body"><div id="articlePremiumInfo"></div><p class="ods-c-paragraph"><strong>Anna Tatarska: Film jest dziś jedną z wielu pani aktywności, obok teatru czy własnej farmy. Co musi mieć w sobie propozycja filmowa, żeby była warta pani czasu i uwagi?</strong></p><p class="ods-c-paragraph"><strong>Isabella Rossellini: </strong>"Konklawe" miało w sobie coś, co głęboko mnie dotknęło. <a href="https://www.onet.pl/film/onetfilm/na-zachodzie-bez-zmian-historia-sprzed-stu-lat-nabiera-zlowieszczej-aktualnosci/1tqe90z,681c1dfa" id="16b857da-592e-4d06-9d37-74f6f989c4be">Widziałam wcześniej "Na Zachodzie bez zmian"</a>, poprzedni film Edwarda Bergera. Wstrząsnął mną do głębi. Muszę się przyznać: nie byłam w stanie obejrzeć go do końca, był tak wymagający emocjonalnie, że finał przerósł moje możliwości. Ale to, co widziałam wystarczyło, by zorientować się, że Edward to wybitny reżyser. Nie tylko, jeśli chodzi o budowanie historii, ale też sposób, w jaki pokazuje ją na ekranie, jego wizualną wrażliwości i intuicję.</p><p class="ods-c-paragraph">Jest w "Konklawe" takie jedno ujęcie, kiedy kamera jest bardzo wysoko i patrzy w dół, a my, zakonnice, jesteśmy maleńkimi, niebieskimi kropeczkami, podczas gdy czerwone kropeczki to kardynałowie. To jedno ujęcie ilustruje hierarchię kościelną. Edward nie potrzebuje wielu słów — jest jak malarz, któremu wystarczy kilka ruchów pędzla.</p><a href="https://olsnienia.onet.pl/" target="_blank" class="ods-c-linked-image"> <img src="https://cdn.kultura.onet.pl/1/U6lk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy8zNWU2ZDZjOTgxZTVlYTUyM2YwNmU0YTJkMjJkMDhkNi5qcGeRlQLNA6wAwsPeAAKhMAehMQQ" height="100" width="800" alt="O!Lśnienia 2025" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-linked-image__image"> </a><div id="pianoInfo" data-section="article-bottom"></div> <div id="pianoOffer" style="display: block;" data-section="article-bottom"></div><div id="contentPremium" class="contentPremium" style="display: none"><p class="ods-c-paragraph">Poza tym, bardzo blisko przyjaźnię się ze Stanleyem Tuccim i Johnem Lithgowem, perspektywa pracy z nimi na pewno dodatkowo mnie zachęciła. Wreszcie: Rzym, moje rodzinne miasto. Jak mogłam powiedzieć nie?</p><p class="ods-c-paragraph"><strong>Ma pani na koncie współprace ze wspaniałymi reżyserami: Peterem Weirem, Alice Rochrwacher i oczywiście Davidem Lynchem. Jak pracowało się z Bergerem, który w branży znany jest jako wybitny intelektualista?</strong></p><p class="ods-c-paragraph">Podeszłam do sprawy tradycyjnie, <a href="https://kultura.onet.pl/wywiady-i-artykuly/trudny-czas-dla-kosciola-krok-ku-destabilizacji-instytucji-do-ktorej-nalezy-miliard/m1y9895" id="5d0c0a2a-a6e3-4cc4-b4ce-6195fdf6a2a6">czyli najpierw przeczytałam książkę Roberta Harrisa</a> i to było bardzo pomocne. Potem od tego wyszliśmy, zarówno w dyskusjach z Edwardem, jak i autorem scenariusza, Peterem Straughanem. Watykan to patriarchalna przestrzeń, w której rolą kobiety jest bycie niewidzialną. Kobiety służą, muszą wykazywać szacunek dla mężczyzn. Ale to nie odbiera im szansy posiadania autorytetu, ich głos wciąż może być słyszalny. I my przede wszystkim zdecydowaliśmy, że siostra Agnes będzie widoczna.</p><p class="ods-c-paragraph">Choć w filmie moja bohaterka nie mówi wiele, jej milczenie jest bardzo wymowne. To stoiczka, ale też chciałam, żeby był w niej jakiś rodzaj ciepła, by widzowie mogli poczuć z nią więź. Tak samo, jak i asertywność, i siła. Istotny był też szacunek dla postaci. Siostra Agnes podjęła świadomą decyzję o zostaniu zakonnicą, nie jest damą w opresji, taka droga życiowa to był jej wybór, co oznacza, że ona to patriarchalne społeczeństwo akceptuje. Oprócz rozmów odbyliśmy też wiele prób, dzięki czemu, kiedy zdjęcia się już rozpoczęły, to zwykle po kilku dublach Edward miał już dokładnie to, czego oczekiwał. Nasza współpraca przebiegała więc gładko i była dla mnie bardzo satysfakcjonująca.</p><div class="ods-c-image__wrapper ods-c-image__img--in-article"><img src="https://cdn.kultura.onet.pl/1/AK4k9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy82MDg2YzEzMGM2ZWQxNDUyNzIyODgzYjE4MzEzNmVkNS5qcGeRlQLNA6wAwsPeAAKhMAehMQQ" height="627" width="940" alt="Isabella Rossellini w filmie "Konklawe"" loading="lazy" class="ods-c-image__img ods-c-image__img--viewport-width"><div class="ods-c-image-description" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.6670212765957447;"><span class="ods-c-image-description__text" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.6670212765957447;">Isabella Rossellini w filmie "Konklawe"</span><span class="ods-c-image-description__source" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.6670212765957447;">Philippe Antonello / mat. prasowe</span></div> </div><p class="ods-c-paragraph"><strong>Słowo potrafi być sprytnym orężem przy budowaniu efektownej roli. Co było najtrudniejsze w budowaniu postaci przy pomocy milczenia?</strong></p><p class="ods-c-paragraph">Na pewno wcielanie się w postać, która właśnie mało mówi. Zakonnice służą i są podległe kardynałowi, ale to ich wybór. Jak już mówiłam, siostry Agnes do zostania zakonnicą nikt nie zmuszał, to był jej wybór, dlatego zakładam, że ona akceptuje taki układ i nawet w tej ciszy potrafi znaleźć siłę, nie czuć się stłamszona. Ma swoją godność i jest silna. Mam wrażenie, że niejednokrotnie kardynałowie byli onieśmieleni jej obecnością. Mimo że nie może głosować w konklawe, to ma głos innego rodzaju, taki który czasami daje jej większą realną siłę.</p><p class="ods-c-paragraph">W filmie mamy jedną, bardzo intensywną scenę konfliktu. Moja bohaterka musi tam emanować siłą. Jej obecność jest cicha, ale kiedy wreszcie decyduje się otworzyć usta, ten monolog musi być jak bomba, bo każde słowo zmienia kierunek rozwoju konklawe. Bardzo się tą sceną stresowałam, bo na sali byłam ja i stu dwudziestu mężczyzn, aktorów, plus ekipa i reżyser, też mężczyzna, autor scenariusza, też mężczyzna. Musiałam być bardzo asertywna. Pomyślałam sobie, że moja bohaterka w tamtej sytuacji na pewno by się denerwowała, a że ja również czułam zdenerwowanie, to po prostu wykorzystałam w tej scenie swoje własne emocje, przekuwając je w siłę postaci.</p><p class="ods-c-paragraph"><strong>Nie pochodzi pani z religijnej rodziny i zastanawiam się, czy musiała się pani jakoś dodatkowo specjalnie przygotowywać do udziału w filmie? Czytałam, że na planie obecni byli doradcy, specjaliści od watykańskiego savoir-vivre.</strong></p><p class="ods-c-paragraph">Tak, mieliśmy dwóch religijnych doradców na planie, a do tego w książce Harrisa było bardzo wiele detali, które mi się przydały. Doradcy upewniali się, że każdy gest, sposób poruszania się i korzystania z rozmaitych przedmiotów był właściwy i zgodny z kanonem zachowania w Watykanie. Jako osoba wychowana w Rzymie mam poczucie, że jednak dorastałam blisko kościoła katolickiego. Moja babka była bardzo religijna. Moja mama była protestantką, tata katolikiem. Do kościoła nie chodzili, ale mnie wysłano do szkoły prowadzonej przez zakonnice i aż do ukończenia liceum studiowałam właśnie w takiej placówce. Dlatego dużo się naoglądałam zakonnic i wydaje mi się, że doskonale rozumiem, na czym polega ich autorytet.</p><div class="ods-c-image__wrapper ods-c-image__img--in-article"><img src="https://cdn.kultura.onet.pl/1/Jnqk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy81OTMxYzUxZmJkZWNjMjdiNTU0ZmQ3YTBhZDcyYjE0YS5qcGeRlQLNA6wAwsPeAAKhMAehMQQ" height="627" width="940" alt="Edward Berger i Ralph Fiennes na planie filmu "Konklawe"" loading="lazy" class="ods-c-image__img ods-c-image__img--viewport-width"><div class="ods-c-image-description" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.6670212765957447;"><span class="ods-c-image-description__text" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.6670212765957447;">Edward Berger i Ralph Fiennes na planie filmu "Konklawe"</span><span class="ods-c-image-description__source" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.6670212765957447;">Philippe Antonello / mat. prasowe</span></div> </div><p class="ods-c-paragraph"><strong>Czy jako młoda dziewczyna była pani zainteresowana postacią papieża? Czy czekała pani na biały dym?</strong></p><p class="ods-c-paragraph">Obecność papieża we Włoszech jest o wiele silniej zaznaczona niż np. w Ameryce i ma całkiem inny wymiar. Wkrótce po moich narodzinach na papieskim tronie zasiadł Jan XXIII, postać kochana przez społeczeństwo. W tamtych czasach we Włoszech papież niemal codziennie pojawiał się w telewizji, np. życzył dzieciom dobrej nocy po dobranocce. Kiedy my szliśmy spać, on zachęcał nas do wspólnego paciorka. Był trochę jak taki dziadek, tak go traktowałam. Jednak gdy zaczęłam dorastać i rozumieć kościelne mechanizmy moje zainteresowanie nimi zmalało.</p><p class="ods-c-paragraph"><strong>Ale podobno wciąż chodzi pani do restauracji, którą prowadzą siostry zakonne?</strong></p><p class="ods-c-paragraph">Tak, do L'Eau Vive w Rzymie. To miejsce prowadzone przez siostry zakonne, do którego chodziła moja matka, kiedy chciała, by nikt jej nie przeszkadzał. Tam nie była słynną Ingrid Bergman, na którą polowali paparazzi, ale po prostu zwykłą klientką, o której prywatność troszczyli się wszyscy wokół. Bardzo dobrze to wspominam. Miejsce istnieje do dziś. Poszliśmy tam podczas zdjęć ze Stanleyem Tuccim, który jest koneserem kwestii kulinarnych i smakoszem. Akurat tej restauracji nie znał.</p><p class="ods-c-paragraph"><strong>Myśli pani, że gdyby jej życie ułożyło się inaczej, to byłaby dobrą siostrą zakonną?</strong></p><p class="ods-c-paragraph">Wie pani, dwa razy brałam ślub, dwa razy się rozwodziłam i mam dwoje dzieci. Chyba nie byłabym zbyt dobrą zakonnicą... [śmiech]. Pamiętam, że kiedyś zapytałam jednej z bardziej sympatycznych sióstr zakonnych w mojej szkole, czy trudno było jej wejść na tę drogę i jak zareagowała na to jej rodzina. Posmutniała i powiedziała, że to było bardzo trudne, bo jej matka marzyła o zostaniu babcią, więc dla niej decyzja córki oznaczała ogromny smutek. Rodzice wielokrotnie jej pytali: "Dlaczego po prostu nie możesz być bardzo wierząca, dlaczego nie możesz codziennie chodzić do kościoła, ale wziąć ślub i urodzić dzieci?".</p><p class="ods-c-paragraph">Słuchając jej, pomyślałam o mojej mamie, która mówiła że dla niej aktorstwo było powołaniem. Dla tamtej siostry zakon był tym samym. Moja mama pochodziła z pokolenia kobiet, w którym niewielu udawało się odnieść zawodowy sukces. Zawsze twierdziła, że to nie ona wybrała aktorstwo, a aktorstwo wybrało ją. Dla mnie obie te historie, to historie kobiet, które miały odwagę żyć swoją pasją niezależnie od oczekiwań rodziny i społeczeństwa. U mnie było nieco inaczej. Wiem, że dla wielu osób artystyczna droga oznacza bunt, ale dla mnie to było naturalne. Aktorstwo było rodzinną tradycją. Uwielbiałam być na planie razem z rodzicami i zakochałam się w nim, zanim je zrozumiałam. To było naturalne przedłużenie tego, jak wyglądało moje życie wcześniej.</p><div class="ods-c-image__wrapper ods-c-image__img--in-article"><img src="https://cdn.kultura.onet.pl/1/kGzk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy8xYzUyZjNmYzNhYjkzZTIxMzdlYmM3ODJhNTY4NTQ5ZS5qcGeRlQLNA6wAwsPeAAKhMAehMQQ" height="627" width="940" alt="Isabella Rossellini w filmie "Konklawe"" loading="lazy" class="ods-c-image__img ods-c-image__img--viewport-width"><div class="ods-c-image-description" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.6670212765957447;"><span class="ods-c-image-description__text" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.6670212765957447;">Isabella Rossellini w filmie "Konklawe"</span><span class="ods-c-image-description__source" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.6670212765957447;">Philippe Antonello / mat. prasowe</span></div> </div><p class="ods-c-paragraph"><strong>Jest pani Włoszką, w tym kraju dziedzictwo Kościoła katolickiego wciąż jest silnie obecne. Jak patrzy pani na temat wątpliwości dotyczących wiary, którego dotyka film?</strong></p><p class="ods-c-paragraph">Jestem rzymianką, a to trochę coś innego. Jako rzymianie zdajemy sobie sprawę, że w obrębie Kościoła katolickiego mamy nurty bardziej progresywne, liberalne, a także konserwatywne, więc doskonale wiemy o toczącej się debacie, która pokazana jest w filmie. Zanim weszliśmy na plan, Edward wyraźnie podkreślał swoją sympatię do produkcji w stylu "Wszyscy ludzie prezydenta", w których ważnym wątkiem jest debata w świecie polityki, i ten wątek polityczny jest w "Konklawe" istotny.</p><ul class="ods-c-unordered-list"> <li class="ods-c-text-bullet ods-c-text-bullet--normal"> <span class="ods-c-text-bullet__text"><a href="https://www.onet.pl/film/onetfilm/konklawe-do-kaplicy-sykstynskiej-wchodzi-polityka-i-to-z-rodzaju-tych-brzydkich/jnhnzts,681c1dfa">Do Kaplicy Sykstyńskiej wchodzi polityka. I to z rodzaju tych brzydkich</a></span> </li> </ul><p class="ods-c-paragraph">Ale dla mnie to przede wszystkim film ludzki. Przygląda się tematowi ambicji, która prowokuje rozmaite grzechy, i zastanawia się nad wymiarem kary. Czy jeśli ktoś popełnił błąd w młodości, a dziś jest stary, to czy kara wciąż jest na miejscu? Ten filozoficzny wymiar filmu bardzo głęboko mnie dotknął. Zadajemy pytania, na które nie znam odpowiedzi, ale myśląc o nich czuję pokorę.</p><p class="ods-c-paragraph"><strong>Jak widzi pani przyszłość kobiet w Kościele katolickim? Można odnieść wrażenie, że świat ostatnio zdaje się znowu zwracać przeciwko kobietom...</strong></p><p class="ods-c-paragraph">To jest bardzo pojemne i bardzo ważne pytanie. Wiem, że w obrębie Kościoła katolickiego są kobiety, które walczą o zmianę swojej pozycji i o zwiększenie kompetencji, ale ich głos nie jest zbyt słyszalny. Nie znam się na tyle na kwestiach kościelnych, by o nich rozprawiać, natomiast jeśli chodzi o wymiar bardziej ogólny, to mogę powiedzieć, że czuję się uprzywilejowana, że urodziłam się w XX w. i byłam beneficjentką najważniejszych dla kobiet przemian społecznych. W 1952 r., kiedy przyszłam na świat, Kościół i państwo nie były jeszcze rozdzielone, nasza włoska konstytucja oparta była na religii. Podział nastąpił dopiero w '76.</p><p class="ods-c-paragraph">Kiedy dorastałam, niedopuszczalny był na przykład rozwód. A przecież nie można powstrzymać ludzi od tego, by zakochali się w kimś innym, na pewno nie powstrzyma ich przed tym obrączka. W naszej własnej rodzinie były różne skomplikowane relacje, które nazywano "pozamałżeńskimi", ale tak naprawdę to była rodzina. Moi rodzice pobrali się dopiero po moich narodzinach. Nie było rozwodów, więc nie mogli się rozwieść, kiedy zakończyli poprzednie relacje, musieli czekać na oficjalną decyzję o anulowaniu małżeństwa. Niedostępna dla kobiet była także aborcja, kobiety nie mogły posiadać ziemi, nie mogły mieć swojego konta bankowego. Tego wszystkiego doświadczyłam na własnej skórze, w swoim własnym życiu.</p><div class="ods-c-image__wrapper ods-c-image__img--in-article"><img src="https://cdn.kultura.onet.pl/1/Z0kk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9mZTVlNjZmNDAyNDZhZjc2YzQyMzJmOTMzNjFjMjcwNC5qcGeRlQLNA6wAwsPeAAKhMAehMQQ" height="627" width="940" alt="Edward Berger i Ralph Fiennes na planie filmu "Konklawe"" loading="lazy" class="ods-c-image__img ods-c-image__img--viewport-width"><div class="ods-c-image-description" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.6670212765957447;"><span class="ods-c-image-description__text" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.6670212765957447;">Edward Berger i Ralph Fiennes na planie filmu "Konklawe"</span><span class="ods-c-image-description__source" data-astro-cid-h2nqjkkm style="--aspectRatio: 0.6670212765957447;">Philippe Antonello / mat. prasowe</span></div> </div><p class="ods-c-paragraph">Zmiany widzę też, patrząc na moje własne dzieci. Moja córka poszła na uniwersytet. To było oczywiste, że będzie starać się zdobyć stopień magistra, że będzie potem pracować. A jeszcze w moim pokoleniu było to coś wyjątkowego. Moja siostra była pierwszą kobietą w rodzinie, która zrobiła doktorat, kiedy ja osiągnęłam stopień magistra, to też była to w rodzinie sensacja. Na przykład moja ciotka nie chodziła w ogóle do szkoły, tylko troszeczkę uczyła się w domu. Była niezwykle kulturalną osobą o szerokiej wiedzy ogólnej, ale nie miała na to żadnych papierów. Dopiero za moich czasów we Włoszech pojawiło się prawo, obligujące rodziców do wysyłania dzieci do szkoły podstawowej. Na moich oczach sytuacja kobiet radykalnie się poprawiła, więc w makroskali widzę przede wszystkim postęp i staram się nie zrażać kilkoma krokami w tył.</p><ul class="ods-c-unordered-list"> <li class="ods-c-text-bullet ods-c-text-bullet--normal"> <span class="ods-c-text-bullet__text"><a href="https://kultura.onet.pl/film/wywiady-i-artykuly/konklawe-i-tajemnice-watykanu-klebowisko-zmij-z-roku-na-rok-jest-gorzej/vnq5k6n">"Konklawe" i tajemnice Watykanu. "Kłębowisko żmij. Z roku na rok jest gorzej"</a></span> </li> </ul><p class="ods-c-paragraph">Jednocześnie widzę oczywiście mocny prąd, wymierzony w kobiety, ich prawo do antykoncepcji, aborcji czy kontroli nad własnym ciałem. Poniekąd rozumiem tę krucjatę z perspektywy osób bardzo konserwatywnych, dla nich jest to walka o właściwy światopogląd, jedyny, jaki uznają za właściwy. W moim odczuciu nikt inny poza kobietą nie powinien decydować o jej ciele. Posiadanie dzieci to niezwykle wymagająca misja i nikt poza nami nie ma prawa decydować, czy chcemy być w ciąży, czy nie.</p><p class="ods-c-paragraph"><strong>Czy jako Europejka, która też miała w swoim życiu styczność z różnymi katolickimi instytucjami, jest pani w stanie zrozumieć wsparcie kościoła dla kogoś takiego jak prezydent Trump? Czy to zły omen dla Ameryki i świata?</strong></p><p class="ods-c-paragraph">Cóż, mnie także trudno to zrozumieć. Mam wrażenie, że dziś ludzie szukają prostych i wiążących odpowiedzi. Pamiętam, że w czasach, kiedy ja chodziłam do szkoły, wątpliwość była czymś szczytnym, dobrze było wątpić. Założenie, że jako ludzie nie mamy odpowiedzi na każde pytanie, wydawało się naturalne. Wątpliwość była ceniona wyżej niż pewność, tak jak w filmie mówi bohater Ralpha Fiennesa. I nawet w mojej konserwatywnej szkole uczono nas, że w naturę ludzką wpisane są błędy i pomyłki. Dla mnie zawsze było to bardzo inspirujące. Być może jest to europejska cecha charakteru.</p><p class="ods-c-paragraph">Amerykański Kościół katolicki, który jest przecież częścią amerykańskiej kultury, woli większą decyzyjność i zdaje się uważać, że jeśli się wątpi, to oznacza, że jest się głupim. Odpowiedź to ma być po prostu "tak" albo "nie", bez miejsca na "nie wiem". Taka postawa wpisana jest w amerykańską kulturę. We Włoszech czy w Europie wolno nam wątpić bez ryzyka, że ktoś wyzwie nas od głupców.</p><p class="ods-c-paragraph"><em>20 lutego "Konklawe" pojawi się w ofercie wybranych platform streamingowych.</em></p><div class="ods-c-video"><div class="ods-c-video__wrapper"><div class="ods-c-video__content"><div class="pulsembed_embed" data-run-module="pulsembed/pulsembed.init" data-src="//pulsembed.eu/p2em/LJoc6xCG6/" data-height-hint="56.5%" data-height-origin-hint="" data-sandbox="standard" data-author-name="Monolith%20Films" data-embed-id="LJoc6xCG6" data-provider-name="YouTube" data-extra-embed-params="%7B%7D" data-embed-img=""><a href="https://www.youtube.com/watch?v=C6tXecYuDCM" target="_blank">KONKLAWE | Zwiastun PL | W kinach od 8 listopada</a></div> </div></div></div></div><span data-article-end></span></article><aside class="ods-ads__ad-space" data-identifier="rectangles" style="flex-grow:1;flex-direction:row;justify-content:space-evenly"> <ad-default 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data-section="bottom-feed-11"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-12"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-13"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-14"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-15"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-16"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-17"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-18"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-19"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-20"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-21"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-22"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-23"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-24"></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-25"><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/taki-jest-obraz-mojej-polski-usiana-grobami-o-filmie-rozpisuja-sie-na-swiecie/bllew0r" class="ods-c-card__link" data-lps-url data-uuid-ui="7488f0d4-00e3-490e-b872-f708a6f169d2" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/IxZk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9jZGVkYmM0Zjc1YTg3ODU4YTMwMzMzNDhlMGU3YzIwZC5qcGeSlQMAAM0G_s0D7pMFzQEszKreAAKhMAehMQQ" height="170" width="300" alt=""Taki jest obraz mojej Polski. Usiana grobami"" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> <svg width="61" height="16" class="ods-c-card__premium-icon" data-lps-hide="true" data-template-selector data-icon="LabelPremiumSmall"> <symbol id="ai:local:LabelPremiumSmall" viewBox="0 0 61 16"><g fill="none"><path fill="url(#radial_5547_10944)" d="M0 0h61v16H0z"/><path fill="#fff" d="M56.154 5.875a1.86 1.86 0 0 0-1.358-.542A2.09 2.09 0 0 0 53.153 6l-.142-.123a1.7 1.7 0 0 0-.586-.395 2 2 0 0 0-.771-.148 2.09 2.09 0 0 0-1.644.668v-.52h-1.16v5.038h1.325V7.267a1.21 1.21 0 0 1 1.087-.698.95.95 0 0 1 .73.284c.172.204.26.466.247.733v2.934h1.326V7.425q0-.236-.038-.47a1.2 1.2 0 0 1 .877-.386.916.916 0 0 1 .976 1.017v2.934h1.326V7.425a2.17 2.17 0 0 0-.552-1.55m-11.482-.403v2.934a.916.916 0 0 0 .976 1.017 1.21 1.21 0 0 0 1.087-.698V5.472h1.327v5.038h-1.16v-.52a2.09 2.09 0 0 1-1.644.669 1.86 1.86 0 0 1-1.358-.543 2.17 2.17 0 0 1-.554-1.55V5.473zm-5.003.403a1.86 1.86 0 0 0-1.358-.542A2.09 2.09 0 0 0 36.667 6l-.14-.123a1.7 1.7 0 0 0-.587-.395c-.245-.1-.507-.15-.772-.148a2.09 2.09 0 0 0-1.643.668v-.52h-1.16v5.038h1.325V7.267a1.21 1.21 0 0 1 1.087-.698.95.95 0 0 1 .73.284c.172.204.26.466.246.733v2.934h1.326V7.425q0-.236-.038-.47a1.2 1.2 0 0 1 .878-.386.916.916 0 0 1 .976 1.017v2.934h1.326V7.425a2.17 2.17 0 0 0-.552-1.55M29.1 10.67a2.665 2.665 0 1 1-.1-5.327 2.553 2.553 0 0 1 2.553 2.664q0 .27-.05.534v.014h-3.776a1.3 1.3 0 0 0 1.393.91 1.4 1.4 0 0 0 1.056-.43l1.088.606A2.55 2.55 0 0 1 29.1 10.67m1.124-3.151A1.2 1.2 0 0 0 29 6.539a1.24 1.24 0 0 0-1.293.98zM20.035 5.347a1.86 1.86 0 0 0-1.503.757v-.629h-1.2v6.69h1.296v-2.14a1.8 1.8 0 0 0 1.41.624 2.38 2.38 0 0 0 1.721-.742 2.83 2.83 0 0 0 0-3.814 2.38 2.38 0 0 0-1.724-.746m1.143 2.65a1.328 1.328 0 0 1-1.365 1.439 1.39 1.39 0 0 1-1.188-.69V7.248a1.39 1.39 0 0 1 1.188-.69A1.33 1.33 0 0 1 21.177 8zm5.38-2.501a2.8 2.8 0 0 0-.843-.149 1.64 1.64 0 0 0-1.354.824v-.697h-1.232v5.049h1.295V7.23a1.32 1.32 0 0 1 1.403-.643h.01l.003-.009a3.5 3.5 0 0 1 .727-1.059l.014-.014zm15.208-2.464a.837.837 0 1 1 0 1.673.837.837 0 0 1 0-1.673m-.635 2.457h1.27v5.02h-1.27z"/><path fill="#FFD200" d="M10.136 13.272a5.136 5.136 0 1 0 0-10.272 5.136 5.136 0 0 0 0 10.272"/><defs><radialGradient id="radial_5547_10944" cx="0" cy="0" r="1" gradientTransform="matrix(193.614 0 0 156.161 30.5 0)" gradientUnits="userSpaceOnUse"><stop offset="0" stop-color="#0478BF"/><stop offset=".019" stop-color="#0773BA"/><stop offset=".13" stop-color="#1753A2"/><stop offset=".25" stop-color="#294293"/><stop offset=".616" stop-color="#070938"/><stop offset="1" stop-color="#19083C"/></radialGradient></defs></g></symbol><use href="#ai:local:LabelPremiumSmall"></use> </svg> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> "Taki jest obraz mojej Polski. Usiana grobami" </h3> </div> </a> </div> </div><script type="module" src="https://cdn.kultura.onet.pl/static/assets/1.32.83/CardWrapper.astro_astro_type_script_index_0_lang.DxQIMN8N.js"></script><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/diabel-ubiera-sie-u-prady-po-latach-nikt-mnie-nie-uprzedzil/kzese2j" class="ods-c-card__link" data-lps-url data-uuid-ui="da805f6d-7118-4cbd-a86d-b322536f633f" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/fQVk9lCaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9hNGJmZjczOGY5MmQ3NjQzZDM0MjVjMjA2ZWE2ZTIxNi5qcGVnkpUDADjNA-jNAjKTBc0BLMyq3gACoTAHoTEE" height="170" width="300" alt=""Diabeł ubiera się u Prady" po latach. Nikt mnie nie uprzedził" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> <svg width="61" height="16" viewBox="0 0 61 16" class="ods-c-card__premium-icon" data-lps-hide="true" data-template-selector data-icon="LabelPremiumSmall"> <use href="#ai:local:LabelPremiumSmall"></use> </svg> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> "Diabeł ubiera się u Prady" po latach. Nikt mnie nie uprzedził </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/kto-tu-jest-prawdziwa-ofiara-ten-proces-zrujnuje-kariere-justina-baldoniego/q6cm8cl" class="ods-c-card__link" data-lps-url data-uuid-ui="1b305181-13a7-4726-b8eb-3daa88c12d88" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/Q9zk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9hNzJkM2ZlMDkyZGRlYmIxYjNkZTg0YzAxODk5MjFkNC5qcGeSlQPMqc0BYs0Rj80J4pMFzQEszKreAAKhMAehMQQ" height="170" width="300" alt="Kto tu jest prawdziwą ofiarą? Ten proces zrujnuje karierę Justina Baldoniego" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> <svg width="61" height="16" viewBox="0 0 61 16" class="ods-c-card__premium-icon" data-lps-hide="true" data-template-selector data-icon="LabelPremiumSmall"> <use href="#ai:local:LabelPremiumSmall"></use> </svg> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Kto tu jest prawdziwą ofiarą? Ten proces zrujnuje karierę Justina Baldoniego </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/adam-brodzisz-i-maria-bogda-ukrywali-prawde-o-zwiazku-byli-krolewska-para/ngq430e" class="ods-c-card__link" data-lps-url data-uuid-ui="c2b24336-25e6-4680-91a8-59e5219bcd2b" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/yi_k9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy83YTUxMWQ2NTI2OGJiMzY2ZWYzYzgzYTgwZjYzNzQ5Yy5qcGeSlQMCzQKNzQ2qzQexkwXNASzMqt4AAqEwB6ExBA" height="170" width="300" alt=""Brodzisz, omdlewam, gdy Ty wchodzisz". Fanki go kochały, on pozostał wierny żonie przez 50 lat" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> "Brodzisz, omdlewam, gdy Ty wchodzisz". Fanki go kochały, on pozostał wierny żonie przez 50 lat </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/byla-gwiazda-kina-w-dniu-jej-smierci-kochanek-odegral-morderczy-spektakl/28zjqr6" class="ods-c-card__link" data-lps-url data-uuid-ui="df66c284-5010-46d9-ab6a-68b3c7f96e7a" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/-JDk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy85OWEwOGFjYzVhZGRjODk4YjY1OGJhMjcyZDI3MGMyNy5qcGeSlQMCzQFFzQwWzQbPkwXNASzMqt4AAqEwB6ExBA" height="170" width="300" alt="Marie Trintignant konała we krwi. W pokoju obok oprawca odegrał spektakl" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Marie Trintignant konała we krwi. W pokoju obok oprawca odegrał spektakl </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/anna-romantowska-gdy-krecilysmy-kazda-przechodzila-zyciowe-nawalnice/egfjxzd" class="ods-c-card__link" data-lps-url data-uuid-ui="51a5a7d3-e675-4cea-9ffa-056611c092d8" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/Vzzk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9iYzQyZWFmZmU5NDRjMzFjYTQxNDhjN2RkNTdmNDM5ZS5qcGeSlQMAZs0H0M0EZZMFzQEszKreAAKhMAehMQQ" height="170" width="300" alt="Anna Romantowska: gdy kręciłyśmy, każda przechodziła życiowe nawałnice" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> <svg width="24" height="24" class="ods-c-card__type-icon" data-lps-hide="true" data-icon="Camera_filled"> <symbol id="ai:local:Camera_filled" viewBox="0 0 24 24"><path fill="currentColor" d="M20.125 6.02h-3.77l-1.76-1.76a2.34 2.34 0 0 0-1.64-.68h-1.9a2.3 2.3 0 0 0-1.64.68l-1.76 1.76h-3.77c-1.3 0-2.34 1.04-2.34 2.32v9.75c0 1.28 1.04 2.33 2.33 2.33h16.25c1.28 0 2.33-1.04 2.33-2.33V8.34c0-1.28-1.04-2.33-2.33-2.33zm-8.13 11.29a4.51 4.51 0 0 1-4.5-4.5 4.51 4.51 0 0 1 4.5-4.5 4.51 4.51 0 0 1 4.5 4.5 4.51 4.51 0 0 1-4.5 4.5"/></symbol><use href="#ai:local:Camera_filled"></use> </svg> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Anna Romantowska: gdy kręciłyśmy, każda przechodziła życiowe nawałnice </h3> </div> </a> </div> </div></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-26"><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/obejrzalem-po-latach-dziennik-bridget-jones-koszmarnie-sie-zestarzala/h148prq" class="ods-c-card__link" data-lps-url data-uuid-ui="dfff3460-77f0-4066-b8eb-a2d15cf857d6" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/wzBk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy81OGE3NWU0OGIxNDQxMzZkZmY2YmEzODgwNzY3YzkzZi5wbmeSlQMAAM0FAM0C0JMFzQEszKreAAKhMAehMQQ" height="170" width="300" alt=""Jesteś idealna, taka, jaka jesteś", czyli dlaczego "Bridget Jones" fatalnie się zestarzała [KOMENTARZ]" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> "Jesteś idealna, taka, jaka jesteś", czyli dlaczego "Bridget Jones" fatalnie się zestarzała [KOMENTARZ] </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/jedna-z-ulubionych-aktorek-polakow-powiedziala-nie-ma-dla-mnie-ratunku/sz5cltv" class="ods-c-card__link" data-lps-url data-uuid-ui="036e2110-8d88-44f6-9656-b4a9d214e6c6" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/kjrk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9jYWE3MjYzZTdkZTYyMzhiNGIzNzY5MTQyMzBmYjkyZi5qcGeSlQPNAeHNARjNDbjNB7eTBc0BLMyq3gACoTAHoTEE" height="170" width="300" alt="Jedna z ulubionych aktorek Polaków. Powiedziała: nie ma dla mnie ratunku" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Jedna z ulubionych aktorek Polaków. Powiedziała: nie ma dla mnie ratunku </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/filmy-na-walentynki-gdzie-i-co-ogladac-13-polecanych-tytulow/28sn9qc" class="ods-c-card__link" data-lps-url data-uuid-ui="1780e95a-eb54-46a7-a84c-714e1b698e51" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/nC0k9lMaHR0cDovL29jZG4uZXUvaW1hZ2VzL3B1bHNjbXMvT1RnN01EQV8vMzVmZjc3ZWZmMjZhZWU2NTRiZmUyY2ZlYjY3YTEwNjMuanBlZ5KVAwAAzQVPzQL9kwXNASzMqt4AAqEwB6ExBA" height="170" width="300" alt="Idealny film na walentynki? Podpowiadamy, co i gdzie obejrzeć" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Idealny film na walentynki? Podpowiadamy, co i gdzie obejrzeć </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/ostatnia-wyprawa-wandy-rutkiewicz-uciec-od-swiata-recenzja/tcqprp7" class="ods-c-card__link" data-lps-url data-uuid-ui="bb9a3a0c-c587-4b72-974d-b1f4add3c085" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/q_Ck9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy80YmVkY2YyODkxOWIwMThjMjhmNzYxNDZjM2I2NTdlMS5wbmeSlQMkKc0EIc0CU5MFzQEszKreAAKhMAehMQQ" height="170" width="300" alt="Matce mówiła, że "jeśli nie wróci, będzie w klasztorze". Ciała nie znaleziono" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Matce mówiła, że "jeśli nie wróci, będzie w klasztorze". Ciała nie znaleziono </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/kocham-kazdy-centymetr-jej-ciala-brosnan-wciaz-nazywa-zone-dziewczynka/0ffd8nv" class="ods-c-card__link" data-lps-url data-uuid-ui="25e29a82-951a-4a60-a7d7-76685c569935" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/8FZk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy81ODRkOWFkZTc1ODNjNTY4Mjc1MGZiOWFjNDkxZDdkZC5qcGeSlQMAzM3NCRvNBR-TBc0BLMyq3gACoTAHoTEE" height="170" width="300" alt=""Kocham każdy centymetr jej ciała". Pierce Brosnan wciąż nazywa żonę "dziewczynką"" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> <svg width="24" height="24" viewBox="0 0 24 24" class="ods-c-card__type-icon" data-lps-hide="true" data-icon="Camera_filled"> <use href="#ai:local:Camera_filled"></use> </svg> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> "Kocham każdy centymetr jej ciała". Pierce Brosnan wciąż nazywa żonę "dziewczynką" </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/rzucil-indie-dla-polski-czuje-sie-polakiem-mam-prawo-mowic-krytycznie-o-tym-kraju/dy78hc7" class="ods-c-card__link" data-lps-url data-uuid-ui="fb471db3-6f9d-49cc-ae15-442f2345524f" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/b3fk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy82OTJmZTMzNWE4Y2ZjMzY4MDUzZDk3NmQ3NGRjYjQ2Yy5qcGeSlQNgS80G-80D7ZMFzQEszKreAAKhMAehMQQ" height="170" width="300" alt="Rzucił Indie dla Polski. "Czuję się trochę Polakiem. Mam prawo mówić krytycznie o tym kraju"" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> <svg width="61" height="16" viewBox="0 0 61 16" class="ods-c-card__premium-icon" data-lps-hide="true" data-template-selector data-icon="LabelPremiumSmall"> <use href="#ai:local:LabelPremiumSmall"></use> </svg> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Rzucił Indie dla Polski. "Czuję się trochę Polakiem. Mam prawo mówić krytycznie o tym kraju" </h3> </div> </a> </div> </div></div><div class="ods-c-aside-bottom__feeds" data-section="bottom-feed-27"><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/orly-2025-zmieniaja-kurs-ale-o-wielkim-wstydzie-warto-pamietac/6bfxmq5" class="ods-c-card__link" data-lps-url data-uuid-ui="1c31cbd2-7422-4ea8-8d23-3840ed2e3c94" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/lUok9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9lZDQ3NmNlZDlhNGVkYmExZmJkYzkyYmI2MWM5NmM2Ny5qcGeSlQMAPc0H0M0EZZMFzQEszKreAAKhMAehMQQ" height="170" width="300" alt="Orły 2025 zmieniają kurs. Ale o wielkim wstydzie warto pamiętać" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> <svg width="61" height="16" viewBox="0 0 61 16" class="ods-c-card__premium-icon" data-lps-hide="true" data-template-selector data-icon="LabelPremiumSmall"> <use href="#ai:local:LabelPremiumSmall"></use> </svg> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Orły 2025 zmieniają kurs. Ale o wielkim wstydzie warto pamiętać </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/karnawal-lekow-kino-testuje-wytrzymalosc-widzow-przeraza-do-szpiku-kosci/8p5ykwb" class="ods-c-card__link" data-lps-url data-uuid-ui="27e4cc22-ec3d-41de-8a56-e014814f374f" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/RNok9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9mZjUzNmQ2ODRjY2ZkMzVmZjlkOWMwMjJhZTRjN2UyNi5qcGeSlQPMhcyWzQjyzQUIkwXNASzMqt4AAqEwB6ExBA" height="170" width="300" alt="Karnawał lęków. Nowa era dla kina spod znaku "Substancji". Testuje wytrzymałość widzów" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Karnawał lęków. Nowa era dla kina spod znaku "Substancji". Testuje wytrzymałość widzów </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/porwanie-edgarda-mortary-skandal-ktory-pograzyl-panstwo-koscielne/cjw92cy" class="ods-c-card__link" data-lps-url data-uuid-ui="b0918536-ef26-4117-83ef-c59f400e4750" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/3yFk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy83ZDc3ZjUxMjZkMjI3MzQxNWUwMmVjOTg0NzJhNDg5NC5qcGeSlQMAXc0L0M0GpZMFzQEszKreAAKhMAehMQQ" height="170" width="300" alt="Ciemna karta Kościoła. Przypadek sześcioletniego Edgarda Mortary, o którym mówiono na całym świecie" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> <svg width="61" height="16" viewBox="0 0 61 16" class="ods-c-card__premium-icon" data-lps-hide="true" data-template-selector data-icon="LabelPremiumSmall"> <use href="#ai:local:LabelPremiumSmall"></use> </svg> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Ciemna karta Kościoła. Przypadek sześcioletniego Edgarda Mortary, o którym mówiono na całym świecie </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/dlaczego-swiat-ma-juz-dosc-kardashianek-zaczelo-sie-od-filmu-dla-doroslych/lv562sb" class="ods-c-card__link" data-lps-url data-uuid-ui="e10ed776-2e2a-4915-9a04-7880b4462d82" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/xSik9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9mMzgwOTk1ZmM2ODJhODY1OTUzMTZjNjhiMWIyZTQ3MC5qcGeSlQPNAyfNATXNCJTNBNKTBc0BLMyq3gACoTAHoTEE" height="170" width="300" alt="Wszystko zaczęło się od filmu dla dorosłych. Dlaczego świat ma już dość Kardashianek" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Wszystko zaczęło się od filmu dla dorosłych. Dlaczego świat ma już dość Kardashianek </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/rezyser-przesmyku-uczucie-dyskomfortu-towarzyszylo-mi-od-samego-poczatku/6n4gttn" class="ods-c-card__link" data-lps-url data-uuid-ui="50ac1af5-ca3c-4095-8512-92849db8a4f2" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/SXXk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9lMzU1MjcwNTBlODI3MTYyNjFjMGNjZWVjNjJiZTY2Yy5qcGeSlQMAzQF5zRC-zQltkwXNASzMqt4AAqEwB6ExBA" height="170" width="300" alt="Jan P. Matuszyński, reżyser "Przesmyku": uczucie dyskomfortu towarzyszyło mi od samego początku [WYWIAD]" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> <svg width="61" height="16" viewBox="0 0 61 16" class="ods-c-card__premium-icon" data-lps-hide="true" data-template-selector data-icon="LabelPremiumSmall"> <use href="#ai:local:LabelPremiumSmall"></use> </svg> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Jan P. Matuszyński, reżyser "Przesmyku": uczucie dyskomfortu towarzyszyło mi od samego początku [WYWIAD] </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/dlaczego-nie-slyszymy-dialogow-w-polskich-filmach-widza-nie-da-sie-oszukac/0fjq7vj" class="ods-c-card__link" data-lps-url data-uuid-ui="e0b7c660-7d0d-46ec-9807-eede1da029ac" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/ZZOk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy8xY2IyOTI3ZDc1MmNhZTQyNjFkZjk3MjcwZDdhNDIzOS5qcGeSlQMAAM0HgM0EOJMFzQEszKreAAKhMAehMQQ" height="170" width="300" alt="Dlaczego nie słyszymy dialogów w polskich filmach? Jacek Hamela: panuje bezwzględna zasada" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> <svg width="61" height="16" viewBox="0 0 61 16" class="ods-c-card__premium-icon" data-lps-hide="true" data-template-selector data-icon="LabelPremiumSmall"> <use href="#ai:local:LabelPremiumSmall"></use> </svg> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Dlaczego nie słyszymy dialogów w polskich filmach? Jacek Hamela: panuje bezwzględna zasada </h3> </div> </a> </div> </div></div><div class="ods-c-aside-bottom__feeds ods-c-aside-bottom__feeds--one-row" data-section="bottom-feed-28"><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/gary-coleman-zostal-gwiazda-dzieki-jednej-roli-zostal-zaszufladkowany/yb9lc4r" class="ods-c-card__link" data-lps-url data-uuid-ui="22a3da9b-4b1d-4dbf-b409-0b280eca452c" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/kCak9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9hZjExOGFjN2M0OWVjYjU2NGI3MGYyMWQ1OWVjNzYzZS5qcGeSlQMAzQFVzQU6zQLxkwXNASzMqt4AAqEwB6ExBA" height="170" width="300" alt="Gary Coleman miał 10 lat, gdy został gwiazdą. Przez rodziców stracił fortunę" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Gary Coleman miał 10 lat, gdy został gwiazdą. Przez rodziców stracił fortunę </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/obraz-samotnej-diwy-angelina-jolie-i-jej-maria-callas-recenzja/n57vlqz" class="ods-c-card__link" data-lps-url data-uuid-ui="83444346-f47f-4ee5-8794-0f9d4b226191" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/9Esk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy9iOThhNDYwYWY0MTkyMTM0M2QzZjYxOTNlNjcyZTZhZi5wbmeSlQNOUs0DF80BvZMFzQEszKreAAKhMAehMQQ" height="170" width="300" alt="Piękny obraz samotnej diwy. Fascynująca Angelina Jolie i jej "Maria Callas" [RECENZJA]" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Piękny obraz samotnej diwy. Fascynująca Angelina Jolie i jej "Maria Callas" [RECENZJA] </h3> </div> </a> </div> </div><div> <div class="ods-c-card ods-c-cards_300x300"> <span class="ods-c-card__promo-material" data-lps-hide="true" data-template-selector></span> <a href="https://kultura.onet.pl/film/wywiady-i-artykuly/skomplikowane-losy-gwiazdy-prl-u-krazyly-plotki-ze-mnie-kupil/dc63kxk" class="ods-c-card__link" data-lps-url data-uuid-ui="a170788d-4b9e-4e04-a8a9-f3b38bcfbe91" data-astro-prefetch="viewport"> <div class="ods-c-card__image-container" data-lps-img-container> <img src="https://cdn.kultura.onet.pl/1/F7Zk9lBaHR0cHM6Ly9vY2RuLmV1L3B1bHNjbXMvTURBXy8zNTM4MGMzNDIwZWRmYjUyNGEyOGEyYzdmZDg0NDNlMi5qcGeSlQMAzQIWzQX_zQNfkwXNASzMqt4AAqEwB6ExBA" height="170" width="300" alt="Skomplikowane losy gwiazdy PRL-u. "Krążyły plotki, że mnie kupił"" fetchpriority="auto" loading="lazy" decoding="async" class="ods-c-image__img ods-c-card__image ods-c-image__img--placeholder"> </div> <div class="ods-c-card__description"> <span class="ods-c-card__category" data-lps-label></span> <h3 class="ods-c-card__title" data-lps-title> Skomplikowane losy gwiazdy PRL-u. "Krążyły plotki, że mnie kupił" </h3> </div> </a> </div> </div></div></aside-bottom-feeds-component></aside><script type="module" src="https://cdn.kultura.onet.pl/static/assets/1.32.83/AsideBottom.astro_astro_type_script_index_0_lang.ngRL8GVJ.js"></script></div><aside class="right-column ods-g-cspan-2"><aside class="ods-ads__ad-space" data-identifier="right-column-bottom" style="flex-grow:1"> <ad-floating-group data-configuration="{"on":true,"slotName":"right3","lazyPercentage":"","floatingHeight":1500,"containerHeight":"","slotsNumber":"","expanding":false}" class="ods-ads__floating-group" style="flex-grow:1"></ad-floating-group> </aside></aside> </div> </div> </main> <footer class="ods-c-footer" data-section="footer"> <div class="ods-c-footer__section ods-c-footer__section--first"> <div class="ods-c-footer__section__wrapper"> <div class="ods-c-footer__logo"> <a class="ods-c-footer__link" href="/" aria-label="Strona Główna"> <img src="https://cdn.kobieta.onet.pl/img/logo_Onet.svg" 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