While waiting to finish Janosik, Adamik took on producing a television series. She shot Ekipa (Prime Minister, 2007), possibly the first Polish political fiction series together with Agnieszka Holland and Agnieszka's sister, Magdalena Łazarkiewicz. The series showed the mechanisms of power in a mature democracy - in many respects a reflection of the contemporary Polish political scene.
Tadeusz Sobolewski wrote in Gazeta Wyborcza (September 12, 2007):
The cinematic attempts to engage in politics after 1989 have been either hesitant or failed. Ekipa breaks a taboo. It gets at the ruling class without looking from below or through allegories such as those used in the 1970s, but looks directly and from the inside. It seems as if it were us who had to take on the burden of power. Just as much as a film needs a proper main character politics need a leader who will prove a real man. He should not be a leader but a person who is trustworthy, who can be relied on.
Adamik became involved in other television productions. She worked on the third season of Pitbull (2008), a police series with cult status, as well as on Naznaczony (editor's translation: Marked, 2009), a ground-breaking series on the Polish market which was intended as an answer to the international hit The X-Files (2009).
Most importantly Adamik directed her second feature film, The Offsiders (2008). It tells a story taken from real life, based on regular world football championships organised by the homeless, in which the Polish team plays a significant role. Kasia Adamik's film creates a (fictional) story about the making of a football team made up of homeless people from Warsaw. The playing coach is a former football player whose career finished after an injury, while his inability to adapt to the changing reality dragged him into decline. Returning to the pitch and creating a football team gives him a chance to come back to society. As it turns out, despite his fears, it is an opportunity he does not waste. The film was shown at numerous festivals in Poland and abroad; it received audience awards in Chicago and Gdynia.
Agnieszka Jakimiak's review of the film in the Kino monthly goes:
Another story about the social underclass full of faith that the eye of the camera is the best tool for showing the nooks and crannies of the everyday humdrum. And again cinema is supposed to support the illusion of realism and objectivism; once again it is ostentatiously and explicitly engaged; and once again it claims its right to didacticism. By some miracle (or maybe because of her director's talent) Kasia Adamik steers clear of most of the traps and avoids falling into a naïve or moralising tenor.
Kasia Adamik continues to work in film and television production. She supervised the recording of such shows as Jan Klata's famous play Hamlet produced at the Teatr Wybrzeże in Gdańsk and staged at the Gdańsk Shipyard (2006). In addition, she has been collaborating on the production of promotional and music videos. Warsaw Pact, a production company in which Adamik is a shareholder, was the Polish co-producer of the film The Karamazovs (2008).
In 2010 Adamik debuted as a theatre director. Together with Olga Chajdas she staged Edward Albee's The Goat, or Who is Sylvia at Warsaw's Och-Teatr.
