This is an audiovisual presentation at the conference "Impacts of Gender, Eastern Europe in Comparative Perspectives, Literature, Art, Film, Language and Music" (University College London, 2018), which ultimately turned into an article "Idiosyncratic Ambiguities of Queer(able) Experience in Polish Film in the Early 2010s" (in publication). It starts this way: 

In the opening sentence of this text's abstract, written roughly a year before, I state that looking for manifestations of “queerness” in Polish film is a “frustrating feat.” While writing this article, I started wondering what exactly I expected to discover, particularly given that my understanding of “queerness” has changed. While the term “queer,” which functions here as both an adjective and a verb, usually correlates with LGBTQ+ issues, including modes of representation and visibility, it also entails descriptive attention and methodological willingness to extend across multiple fields of inquiry and to generate and welcome errant resonances and interferences that add to the argument’s analytical purchase without compromising or upsetting its clarity or direction. “Queering” pertains to the strategies of doing intersectional and transdisciplinary research, employing mixed media, genres, and formats; in film studies, it can also be about “creat[ing] alternative texts that are not solely reactions,” to quote bell hooks, who writes about the “black spectatorship” of white-by-default Hollywood films.