
Mateusz Więcławek
Bronek Budny

Budny, a secret service officer, secretly surveils Bishop Karol Wojtyla for 20 years. An unreciprocated bond forms between Budny and the unaware Wojtyla, leading to an obsessive, pathological relationship from Budny's perspective.
I've seen this trick before. Black-and-white frame. Slow push into a face that does not know it is being watched.
Surveillance grammar. History sitting on one life. Strawman, or Figurant in Polish, borrows that look and then turns it inward. Robert Gliński is after the watcher, not the man on the other end of the tape.
Bronek Budny is a secret service officer assigned to monitor Bishop Karol Wojtyła for two decades. The job sounds clinical. Observe.
Compile reports. Stay in the shadows. The film makes the job an obsession, a one-sided relationship that warps Budny's sense of who he is. Figurant lands near "stooge" or "puppet."
The English title Strawman suggests a hollow figure, a construct, something easy to burn. Both names ask the same question. Who is Bronek Budny?
Loyal servant of the state? A man haunted by his own past? A ghost in the machine, watching a future pope without ever being seen?

The black-and-white photography is a story choice, not a vintage sticker. It flattens the world into contrasts. Light and dark.
Faith and ideology. Observer and observed. Early on, Budny sits in a cramped apartment while a desk lamp throws long shadows across his face.
The camera stays on his hands as he writes a report. The scratch of the pen is the only sound in the room. Small beat, and it tells you how he measures a life.
Ink and secrets. The palette evokes the period, sure. More usefully, it takes away hiding places.
No color to soften the isolation. Just him, the files, and a psyche coming apart on a slow drip.
Mateusz Więcławek holds the picture together, and he does it quietly. He does not play Budny as a villain, or even as a particularly cruel man. He plays a bureaucrat of the soul, someone who believes in the system because it is the only structure he has.
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This section contains the full plot, including major story reveals. Overview above stays spoiler-free.
Poland’s Strawman (2023) isn’t just another historical drama—it’s a psychological deep dive into one of the most unsettling surveillance operations of the Cold War era. Directed by Robert Gliński, the film revisits a little-known chapter of Communist Poland: the secret service’s 20-year monitoring of Karol Wojtyła, the future Pope John Paul II. latestnetflix.com's view is that with a cast led by Mateusz Więcławek and Marianna Zydek, Strawman promises to blur the line between devotion and obsession, all while grounding its story in declassified events.
The film’s premise is as chilling as it is fascinating. Bronek Budny, a secret service officer played by Więcławek, is tasked with surveilling Bishop Karol Wojtyła (Maciej Mikołajczyk) for two decades. What begins as a routine assignment spirals into something far more personal: Budny develops an unreciprocated, almost pathological bond with his unaware target. The tension lies in the film’s exploration of power, faith, and the psychological toll of living in the shadows—a theme that resonates far beyond its historical setting.
Strawman is explicitly framed as "based on true events," drawing from real surveillance operations conducted by Poland’s Communist regime. While the film takes creative liberties, its core narrative is rooted in documented history, making it a rare blend of espionage thriller and character study.
Mateusz Więcławek (The Hater, The Defence) anchors the film as Budny, a role that demands a delicate balance between bureaucratic detachment and simmering obsession. Marianna Zydek (The Woods) plays Marta, a character whose role in the story remains tantalizingly vague in available snippets—likely a foil or confidante to Budny. Zbigniew Stryj (The Coldest Game) appears as Colonel Wojnar, hinting at the film’s political intrigue, while Adrian Brząkała portrays a priest, adding another layer of moral complexity.
Maciej Mikołajczyk’s casting as Karol Wojtyła is particularly intriguing. Wojtyła, who would later become Pope John Paul II, is depicted not as a saintly figure but as an unwitting target—his charisma and influence making him a threat to the regime. The film’s tension hinges on the audience’s awareness of Wojtyła’s eventual global impact, contrasting sharply with Budny’s myopic fixation.
Despite its gripping premise, Strawman has kept a relatively low profile since its release. Here’s what the evidence confirms—and where details remain scarce:
The evidence leaves several questions unanswered:
At a time when surveillance and privacy are hot-button issues, Strawman feels eerily relevant. The film’s exploration of state power, individual agency, and the psychological cost of living under constant watch taps into modern anxieties about digital monitoring and authoritarianism. Budny’s descent into obsession mirrors contemporary concerns about the erosion of personal boundaries—whether by governments, corporations, or even our own devices.
Yet Strawman isn’t just a cautionary tale. It’s a character study of a man who becomes a prisoner of his own mission, raising questions about complicity and redemption. In an era where whistleblowers and leakers dominate headlines, Budny’s story forces audiences to confront uncomfortable truths about the systems we enable—and the people who get lost within them.
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