There’s something genuinely intriguing happening in Polish cinema right now, and Screw Mickiewicz 3 is shaping up to be a major part of that conversation. Director Sara Bustamante-Drozdek is set to release this film on February 13, 2026, and despite the fact that it hasn’t hit screens yet, there’s already a palpable sense of anticipation building around this project. This isn’t just another sequel—it’s the continuation of a franchise that’s clearly resonated with audiences in ways that matter.
To understand why this third installment is generating such buzz, you really need to appreciate what the original Screw Mickiewicz (2024) accomplished. That first film, also directed by Bustamante-Drozdek, told the story of Jan Sienkiewicz, an expelled writer tasked with reaching a classroom full of rebellious Warsaw high school students using unconventional methods and the power of literature. It was a film about redemption, pedagogy, and the radical idea that literature could still matter in the lives of young people who’d been written off by the system. The premise was deceptively simple, but the execution clearly struck a nerve.
What makes Bustamante-Drozdek’s approach so compelling is her willingness to blend drama with comedy. This isn’t a straightforward inspirational teacher narrative—it’s something messier, funnier, and ultimately more honest about what happens when an unconventional educator actually collides with real adolescent resistance. The tone is crucial here. In a cinematic landscape often divided between heavy-handed prestige dramas and disposable comedies, this series has carved out space for something that refuses to choose.
Now we’re heading toward the third chapter, and that’s where things get really interesting. The fact that this franchise has proven sturdy enough to warrant a trilogy speaks volumes about its cultural resonance, particularly within Polish cinema. The Polish box office demonstrated remarkable strength in 2025 with 50 million admissions, and several releases are already being positioned as potential top-ten contenders for 2026. The continuation of this franchise suggests that audiences haven’t tired of Jan Sienkiewicz’s world—or Bustamante-Drozdek’s distinctive vision.
The casting remains intriguing. Hugo Tarres, Wiktoria Koprowska, and Karol Rot will be returning (or joining) this narrative, and their contributions will be essential to whatever ground this third film chooses to cover. These aren’t just names on a marquee—they’re artists who understand the particular chemistry that makes Bustamante-Drozdek’s stories work. There’s a rhythm to ensemble work in films like this, a calibration between dramatic sincerity and comedic timing that can’t be faked.
Here’s what we can anticipate from Screw Mickiewicz 3 based on the trajectory established so far:
- A deepening of character relationships rather than mere repetition of the formula
- New thematic terrain that builds on what the first two films have established about education, literature, and social resistance
- The kind of culturally specific humor that travels well precisely because it’s rooted so specifically in Warsaw, Polish education, and the legacy of figures like Mickiewicz himself
- A willingness to take risks with tone and narrative structure that distinguishes this series from safer franchise fare
The real question isn’t whether this third installment will find an audience—it’s what new territory Bustamante-Drozdek will choose to explore when she returns to this world.
Bustamante-Drozdek’s direction has always been characterized by a particular kind of intelligence. She doesn’t condescend to her characters or her viewers. The humor emerges from genuine situations rather than imposed quirkiness, and the drama carries weight because it’s rooted in real stakes. This is a filmmaker who understands that the best art about education and transformation isn’t about those things abstractly—it’s enacted through form and performance.
The production itself carries the Artrama banner, which suggests a certain commitment to artistic integrity over pure commercial calculation. This isn’t a franchise designed by algorithm; it’s one that emerged organically from a creative vision that audiences embraced. That distinction matters enormously when you’re talking about sequels and trilogies.
Currently hovering at a 0.0/10 rating on the database, the film hasn’t yet accumulated enough votes to register a meaningful score—which makes perfect sense, given that it hasn’t been released yet. This is pure anticipation territory. There are no reviews to parse, no audience verdicts to debate. What we have instead is the promise of Bustamante-Drozdek returning to her world with returning collaborators and presumably new ideas about where this story can go.
When Screw Mickiewicz 3 arrives on February 13, 2026, it will enter a conversation already begun by its predecessors. But more importantly, it will offer audiences something increasingly rare: a filmmaker committed to complexity, a cast capable of balancing competing emotional registers, and a story that suggests literature, education, and human connection still matter. In a cinematic landscape often fragmentary and disposable, that kind of commitment feels genuinely radical.
