The article is devoted to the analysis of representations of women directors as key characters in Polish feature films, beginning with Agnieszka from the original version of the script of the Man of Marble(1963) by Andrzej Wajda, and ending with Magda (T. Budzisz-Krzyzanowska) in the Immoral Story (1990) by Barbara Sass-Zdort. The analysis of the representations of female directors as protagonists in feature films is one of the key themes of the yet unwritten history of women in cinema during the socialist period in Poland. The time gap between the two selected films allows one to show the generational change in the image of the female directors in Polish film culture and her status in the symbolic space. It becomes especially evident when two images of Agnieszka are contrasted, the first modelled on Agnieszka Osiecka, and the other on Agnieszka Holland. Reflection inspired by gender and women’ studies in the context of Central European cinema inspire a new understanding of the mythical heroine of the Cinema of Moral Anxiety, and characters inspired by her. Inspired by the many comparisons between Agnieszka (K. Janda) with the anti-heroine Ewa, from Barbara Sass-Zdort debut film Without Love (1980), a comparative characteristic is carried out: the allegory of Freedom, and the new eternal Eve. The relationship between the main female characters of the film Without Love, a photojournalist and a female worker, was used as a model for the toxic and potentially sisterly relationship between the director and the actress in the Immoral Story. Reducing the character of the female director to a voice is interpreted as a significant absence, that is to be filled by aggressive excesses, screams and stage make up of the fallen star.