In the years 2001–2007 Konik created eight quasi-documentaries, which formed the cycle In the Middle of the Way. Seven of the films were about homeless people, whom the artist met during her travels around the world. The camera accompanies the characters in various places and during conversations about their homelessness, families, fates and attitudes towards life. Andrea Domesle noticed that the thematic element of journeying is present in all of the movies and in the cycle’s title, 'the theme of being on the road, not only in the physical, but above all in the psychological sense, is employed here, as is the motif of traveling, which has always accompanied mankind'. Journeying plays an especially important part in the seventh film – Postscriptum (2005). This movie shows Anna Konik herself as she travels between Warsaw, Berlin and her hometown of Dobrodzień.
Dialogues and discussions, which don’t lead to conclusions or compromises, are recurrent motifs in Anna Konik’s films. Such a theme was employed in the video I Keep Confusing Right and Left (2002), which presented arguing human heads positioned upside down. The characters’ voices are occasionally accelerated or slowed down. All of the persons shown in the video complain about the authorities, regardless of their political views. Four seniors are the main characters of the video installation Translucence (2004). These elderly people are lonely and virtually unnoticeable. Konik met them in Berlin, Warsaw and Stuttgart and conducted interviews with all of them. Later she created four, equally long, simultaneously played films, in which she duplicated the characters in such a way, that each of them seemed to be talking over a table with himself or herself. The seniors talk about their fates and their feelings of loneliness. Their stories aren’t devoid of acute, often bitter reflections on the condition of elderly people. Critic Krzysztof M.Bednarski commented,
Translucence is the life story of lonely elderly people conversing with each other. It’s almost like a sort of confession, perhaps the only and last one. Not everyone might Get into it. That’s because Konik’s paradocuments are ‘boring’. In her perfectly edited videos she doesn’t try to impress the viewer. […] Ania Konik eliminates the narcicistic ego typical of artists and making use of her experience from therapeutical theatre, she puts a new type of sensibility into her art.
The work Our Lady’s Forever (2006) is a video installation which consists of seven screens. The artist created it after she encountered a drama written by a man suffering from schizophrenia. The poetic and very aesthetic recordings made in the deserted Our Lady’s Cork filmed in a psychiatric hospital in Cork tells the story of a woman (A.) and a man (B.), who search for one another in the empty spaces of the building. Peter Murray wrote, "Konik’s film considers the issue of loneliness, the impossibility of authentic communication between lonely individuals and possible also the nightmare of forgetting and being forgotten".
The Strach Zauroczenie (Fear and Entranced, 2011) exhibition in Atlas Sztuki gallery in Łódź presented two of Anna Konik's video installations –the first Polish screening of the full-length version of Villa of the Entranced, as well an entirely new work entitled Play Back (of Irène). The latter is an artistic record of a near-death experience. The protagonist, Irène, is a mountain climber who survived an accident in the Alps, which brought her to the brink of death for several dozens of seconds. Anna Konik returned to the exact spot with Irène and recorded her attempt to extract scraps of impressions, thoughts and sounds from her memory of the fall.
As Marcin Giżycki wrote:
Konik, in the video installation ‘Play Back (of Irène)’, tries to enter the psyche of her heroine – a mountain climber who survived a dangerous fall. The artist once again tries to create a symbolic space that would reflect – in a more tangible and sensual way than a neat film recording or spoken word – a very specific experience, someone's experience. This time, the image was divided between monitors, which were integrated into a white structure.
Eight videos constituted a fragmentary, non-linear narrative. A shattered and reassembled story, told backwards and forwards, deconstructs what remained in her memory at a critical moment.
The projection’s rhythm was created through the use of sequences of colour. The other images were black-and-white, often turned upside down, sped up or slowed down. The monitor blocks were suspended freely in space at a 1.65 m height – Irène's eye level.
W Tym Samym Mieście, Pod Tym Samym Niebem… (In The Same City, Under the Same Sky..., 2011–2015) is another one of Konik's immense video projects, which was created in stages over the course of four years. The work consists of 35 stories told to the artist by immigrant women from Afghanistan, Syria, Iraq, Myanmar, Palestine, Turkey, Kurdistan, Congo, Chechnya, Ingushetia, Somalia, Nigeria, Cameroon and Ecuador, as well as by Roma women.
The majority of Konik's heroines are refugees who fled their homeland for a very good reason. Some have husbands, some are single mothers, and all live in suburban ghettos or refugee centres in Stockholm, Białystok, Istanbul, Bucharest and Nantes. The difficult fates of these women were in part told by other women, inhabitants of the same cities. In this work,Konik made an attempt to connect two realities: the world of women from ethnic ghettos and the world of women living in normal conditions in their homelands. The natives took on the ‘roles’ of immigrants. Sitting comfortably in their homes, they told the immigrant women’s stories, always in the first person, as if they were recounting their own experiences. These stories were often shocking;they involved escaping persecution, death, separation from family, loss of home and fear for loved ones. But they were also about the lack of acceptance and hostility or even racism that they experienced at the places of refuge.
Konik's project carries a social burden; it is a deep reflection on the fate of refugees forced to leave their homeland. The artist deals with the subject of how humanitarian compassion for the victims of wars seen on television translates into reality when they become our neighbours. Anna Konik's videos show how strong and deeply rooted our invisible mental barriers, created out of fear towards strangers, can be.
The exhibition Ziarno Piasku w Źrenicy Oka: Wideoinstalacje 2000–2015 (Grain of Sand in the Pupil of the Eye: Video Works 2000–2015), which opened at the Centre for Contemporary Art Ujazdowski Castle in 2015 was the first large retrospective of Anna Konik's works. It presented her creative achievements over the course of fifteen years. The In The Same City, Under the Same Sky... installation opened the exhibition. Apart from such works as The Villa of the Entranced, Our Lady's Forever or Play Back (of Irenè) the exhibition also included Konik's student works, drawings and the premiere of a large-format photographic work prepared especially for this exhibition.