Movies create, among others, historical stereotypes. In USSR the presentation of Polish-Soviet relations during World War II was subjected to propaganda reasons. For example Zygmunt Kolosovski (1945, dir. B. Dmokhovsky) was to create among soldiers some positive attitude towards Poles. Some apolitical thrillers showing how Russian agents cooperated with Polish resistance (such as The Rockets Cannot Fly [Rakety ne dolzny vzletet] by A. Timonishin, Call Fire for Ourselve [Vyzyvaem ogon na sebya] by S. Kolosov, Major Vikhr [Mayor Vikhr] by E. Tashkov and Zosya by M. Bogin – an interesting artistic movie) were produced in 1960s. In 1970s the vision of history became propagandist again. The Great Battle [Osvobozhdenie] by Y. Ozerov (1969-1971) showed Poles fighting in Red Army and Polish regular troops which later became Polish 1st Tadeusz Kościuszko Infantry Division very schematically. Another epopee by Ozerov – Soldiers of Freedom [Soldaty Svobody] (1977) – presented Soviet interpretation of Warsaw Uprising, according to which the aversion of the Polish government-in-exile, based in London, and Polish Home Army towards the USSR was incomprehensible and groundless. The USSR created its image as the liberator of Europe, concealing the alliance with Germany in 1939 and the Katyn massacre. In Soviet movies, according to the indictment in the Trial of the Sixteen, Polish Home Army and government-in-exile were shown as pro-German organizations (Special Brigade [Otryad osobogo naznacheniya] by V. Lysenko), although around 1980 more balanced films appeared. Not until the perestroika was well developed, in 1989, was the Polish-Russian TV series Passage [Pereprawa] by V. Turov shown, in which the above thesis was abandoned and a truer picture of the Home Army was presented. Nowadays Russian cinema do not conceal Soviet invasion on 17th September 1939 and shows Poles as holding justified grudges against the USSR, which, according to the author of the article, enables Russian directors to take a realistic approach to the subject of the fate of Poles in the years 1939-1945. Between 2005 and 2012 three cinema stereotypes of a Pole during the World War II era were created. Either he is disinclined towards the Russians (e.g. In June 1941 [V iyune 41-go] by A. Franskevich), alienated from that society and unhappy (e.g. Zhilin’s Watchtower [Zastava Zhilina] by V. Pichul, 2009) or a relentless but righteous enemy – such as in TV series SMERSH [SMIERSZ] by Z. Roizman (2006), which shows, for the first time in Russia, Polish Homeland Army troops fighting in 1944 with Red Army and emphasizes their patriotism. In the article the author analyzes 15 World War II movies, produced in Russia or as a Russian-Belarusian coproduction after 2000, in which „Polish” threads can be found. A Pole of that era is regarded by the screenwriters as uncertain; his attitude during the confrontation is unpredictable. However, despite initial hostility, Poles are able to cooperate, if only they ascertain that Russians are their allies. Polish threads in contemporary Russian movies and TV series, analyzed in the article, seem to justify the hypothesis, that in the years 2005-2010 a chance to change the view of Russian-Polish relations during World War II appeared in Russia. Once the barriers which prevented Russians from learning about the most important facts (17th September 1939, Katyn, the detachment of Easter Borderlands from Poland in 1944) were gone, the foundations for further exploration of the Polish theme were created. This can result in dissemination of basic knowledge, which is essential for establishing normal Russian-Polish relations. It is, however, noticeable, that the wave of interest in Poland in Russian war movies is nowadays diminishing.