Everyone knows what they can expect from a movie classified as a romantic comedy. The subject matter is love, there's a bit of comedy, a bit of melodrama, some humour, witty dialogues and a rousing couple as the main characters. Movies like this have as many supporters as they do bitter opponents.

Romantic comedies were very popular in the 30s and 50s last century. It is worth mentioning some classics of the genre: "The shop around the corner" by Ernest Lubitsch, "Mr. Deeds goes to town" by Frank Capra, and "Love in the afternoon" by Billy Wilder. Following this, the development of heavy movies meant that romantic offerings had to take a back seat. When people had had enough of cheeky thieves, special agents and good and bad cops, filmmakers once again reached out for the old patterns. In the 90s we could see "You've Got Mail", "Four Weddings and a Funeral", "Pretty Woman" and my favourite, "Nothing Hill".

The screenplays in romantic comedies have always been the same. The fates of the main characters interweave quite by chance. At the beginning they can't stand one another. She is gushing, he is coarse-grained, and there isn't any common ground. At last it becomes clear that they are meant for each other and we have "they live happily ever after". Despite the predictability, the romantic comedy has its supporters. Often we watch movies to see our favourites actors. Meg Rayan, Tom Hanks, Hugh Grant, Julia Roberts and Jennifer Aniston have played in many films, but we like them most for their roles in romantic productions.

A lot of excellent Polish movies belong to the genre of romantic comedy. Recently, I have watched the great Planet of the Singles by Mitia Okorn.

Almost every young girl dreams of a veil, a long gown, a prince on a white horse and The Most Important Day of her Life, followed by a long and happy life together. The times may be changing, but this idea remains invincible.

The main character of the book "The Miniaturist" by Jessie Burton, young Nella Oortman, stands on the doorstep of her new house one October evening in 17th century Amsterdam. She has a head full of dreams about a rich life with a husband – a peddler called Johannes Brandt. Instead of a loving, languishing husband on the doorstep, she is greeted by her curt, rugged sister-in-law and an exotic servant. The husband appears some time later, but he doesn't devote any time to his young wife. The next few days don't change the situation.

An extraordinary gift is appears as compensation for her husband's lack of attention: A miniature of the house, which to begin with is empty. In the course of time it fills up with elaborate figurines and objects made by a mysterious miniaturist. The replica of the house and its new parts enthral and frighten the young girl. It transpires that they are made so precisely it's as if somebody is watching Nelly's life closely. Through them the girl exposes the dark secrets of the house's residents. She believes they are the reason for the disturbing events which follow. In her head appear more and more nagging questions: How does the miniaturist know so much about her husband's family? Does the miniaturist control the future of the house's residents? And finally: Who is the talented artist?

Among the movies I have watched recently, "Eccentrics" by Janusz Majewski is like a happy sunray on a grey day. In this picture you won't find any criminal mystery, murders, buckets of blood, or strange creatures. Instead you will find a sentimental return to the Poland of the 1950s, with humour, an affair and a huge dose of rousing music.

Fabian (Maciej Stuhr), an ex-soldier whose post-war fortune had kept him in the west, returns to Poland from Great Britain. He lives for jazz music and tries to share his passion with those around him. It turns out to be quite easy. He forms an excellent jazz band in Ciechocinek. The musicians practise, play concerts, sensationalize and... have fun. The main character is interested only in music and a young English teacher called Modesta (Natalia Rybicka). The question is whether the difficult time of the 50s will allow him to develop his passions? Will we be able to say that they live and play happily ever after?

The movie reminds us about Ciechocinek, a known health resort from the halcyon days. On the streets you can see beautiful cabriolets, and in sanatoriums they hold tea dances, women have elegant suits and smart hairstyles. Slowly in Poland the situation is changing: Stalinism comes to an end and Gomułka's times allow for more freedom and live jazz music. We know that it wasn't a colourful, carefree time, but Janusz Majewski doesn't show us the more dramatic side of Polish life. We have instead the 1950s with a pinch of salt, retro style sanatoriums, tea in glasses, vodka purchased from "under the counter" and toilet paper rationed in public toilets.

Today I would like to propose a unique trip in the company of Reese Witherspoon. The actress creates the mature role of Cheryl trying in an unusual way to piece back together her ruined life in the movie "Wild" (2014) by Jean-Marc Vallée.

This slightly built girl in dinky shoes with a huge backpack wanders 1.5 thousand kilometres on the touristic path called the Pacific Crest Trail. She is at the same time fragile and strong, naive and determined in reaching her goal. By watching short reminiscences, we learn step-by-step about her life and her reasons for taking this exhausting trip in hunger, uncertainty, cold and heat, with only wild animals and insects for companions. Thanks to this, the movie is an emotional patchwork, jumping between touching flashbacks and her struggle with nature and her own weaknesses.

Every one of us has something stable in his life, a kind of pillar of strength, which is the ground on which we build our world. For one person it is family and friends, and for others it is work or a hobby. It is not difficult to imagine what may happen when such element disappears. After her mother's death (Laura Dern) the heroin of "Wild" has no point of reference, her life is torn apart and she is distracted by minor issues. The exile should be a kind of penance, a trial to reach acceptance of herself, to deal with the trauma after her mother's death and preparation for her future life.

Movies dealing with disability, handicap or sickness are usually difficult and depressing. It is difficult to face somebody's suffering and total dependence on others. This difficult subject is handled well by Olivier Nakache and Eric Toledano, the screenwriters and moviemakers of "Untouchables".

This movie is based on true events and describes the story of paralysed millionaire Philippe (François Cluzet), who employs a caretaker called Driss (Omar Sy), a young boy from suburbia. It is difficult to imagine this feisty, easy-going former prisoner playing the role of caretaker for an invalid. Why is he employed? It seems that, bored with the daily monotony of his life and tired with his infirmity, the man discovers in Driss the promise of change, or maybe he simply decides to give a chance to a boy "with a past". At the same time, Driss proves that he is able not only to drink beer and smoke joints in dubious company. Predictably, both men will form a unique friendship.

They are different in almost every aspect: different social groups, upbringing, approach to life - even the music they listen to. Reportedly, opposites attract and this relationship is proof of that. A sense of humour is what brings them together. Looking at Driss, it is visible in his every smile, in his easy-going approach to life and in the jokes he tells. To begin with, Philippe hides everything inside, his sense of humour dimmed by his sickness; but, influenced by the young caregiver, it shows up in the least expected moments. Both men benefit from this relationship. They complement each other's lives and learn how to look at life from a different perspective.