Anna's aunt and only surviving relative, Wanda is a chain-smoking, hard-drinking state prosecutor and former communist resistance fighter. She helps uncover the fate of their family, including the death of her own young son, while encouraging Anna to experience worldly pleasures. Her grief and despair deepen after the burial, ultimately leading to her suicide.
Gośka's mother, a supporting family figure in the story.
Dominik's success-obsessed mother, emotionally distant and controlling regarding his future.
A widow in the gated community who becomes emotionally and physically involved with Żenia following her husband's illness and death.
The Mother Superior, also known as the Abbess, governs the convent and tries to preserve its reputation by concealing the nuns' pregnancies. She controls information about the births, becomes hostile toward Mathilde and Nun Maria, and abandons Zofia's baby after baptizing it, presenting her actions as obedience to Providence.
Choreographer of the state folk ensemble and part of its original creative team with Wiktor and Kaczmarek. She fiercely opposes the bureaucrats' demand to include pro-Communist, pro-Stalinist propaganda in the shows; when the careerist Kaczmarek agrees, a resentful Irena abandons the troupe rather than serve the regime's ideology.
Desperate mother searching for a blogger claiming to cure her son.
Dorota is a middle-aged prosecutor and one of the three women at the center of the film. She struggles with alcohol addiction, while her story develops in parallel with those of Teresa, the distinguished surgeon, and Magda, the young student.
Teresa is Tomasz Komenda’s mother and a central emotional figure in the story. She is connected to the family’s ordeal as Tomasz is wrongly accused of a brutal murder and imprisoned for 25 years, making her relationship with him essential to the film’s portrayal of the injustice.
A widow of a German Wehrmacht soldier, Róża lives on a farm in postwar Masuria and faces violence, insecurity, and possible expulsion because the authorities regard her as German. She asks Tadeusz to protect her, and their practical alliance gradually becomes a respectful and loving relationship.
Stefania Skarbek is Krystyna’s mother. Krystyna asks her contacts to obtain papers for her, but the request is rejected; later, Stefania is captured. Her predicament intensifies Krystyna’s personal fears and anger, connecting the risks of her resistance work to the danger facing her family.
Marta is a 42-year-old star of a popular series, portrayed as strong and dominant. Although fame and money surround her, she still cannot shape her own life as she wishes. She is Kasia’s sister, and the illness and loss affecting their family force her to cooperate with Kasia despite their mutual distance and lack of understanding.
Agata Kulesza has 52 screen credits in a career dating back to 1986. Their work spans 4 cinematic universes — most prominently Suicide Room Collection with 2 titles. Signature works include Ida, The Time That Never Came, The Breslau Murders. Explore the interactive character relationship maps on each title page to trace how their roles connect across franchises.
Universe traveler — spans 4 universes
Related entry on Wikidata (Q114567), public domain (CC0).
