Krzysztof Kieslowski

Krzysztof Kieslowski – Bez konca AKA No End (1985)

Set during Martial Law in Poland and centers on the young widow of an attorney who defended activists during political trials. The woman finds herself unable to deal with her husband’s death. The spirit of the departed intervenes in her life and the widow constantly feels this presence. Her longing for her deceased husband ultimately leads her to commit suicide. The storyline of the heroine’s personal experiences is intertwined with that centering on the political trial of a young worker. In the film, Kieślowski offers a series of reflections on the political stance of society and the professional ethics of lawyers. Read More »

    Krzysztof Kieslowski – Blizna AKA The Scar (1976)

    Films made under the state socialist regimes of Eastern Europe in the mid-twentieth century tend to fall roughly into two categories: the rigidly institutional and the scathingly anti-establishment. These films either serve to trumpet the cause of Communism or else find ways to avoid or subvert its conventions. The early films of Krzysztof Kieslowski present a slightly different alternative. On the one hand, these films duck the scrutiny of government censors with minute, incisive portraits of the system’s failings; but on the other, they tend to humanize and complicate the causes of these failings. Rather than make the system seem a corrupt, faceless entity, Kieslowski’s early films present a collection of individuals whose personal problems and shortcomings compose this system and thereby bring about its failure. Read More »

      Krzysztof Kieslowski – Amator AKA Camera Buff (1979)

      It all starts when Filip Mosz (Jerzy Stuhr) buys a little 8mm movie camera to film his new-born baby. Like a true enthusiast, Filip enters into the spirit of his new hobby, filming everything that moves and working on the material on a small editing suite. When he is commissioned by his boss to film a reception being held to commemorate the company’s 25th anniversary, he becomes aware of the pressures of outside expectations and even censorship. The film however gets entered into an amateur film festival and wins third prize (second prize really since none were judged good enough to win first prize!) and he soon finds himself caught up in the world of TV and film-making, helped by an attractive film producer. Read More »

        Krzysztof Kieslowski – Trois couleurs: Bleu AKA Blue [+Extras] (1993)

        In the devastating first film of the Three Colours trilogy, Julie, a woman reeling from the tragic death of her husband and young daughter, attempts to free herself from the past while confronting truths about the life of her late partner, a composer. Read More »

          Krzysztof Kieslowski – La double vie de Véronique AKA The Double Life of Veronique (1991)


          Two parallel stories about two identical women; one living in Poland, the other in France. They don’t know each other, but their lives are nevertheless profoundly connected.


          It is important to resist the temptation to figure out every last detail of “The Double Life of Veronique,” the mysterious and poetic new film by Krzysztof Kieslowski. That way lies frustration. Read More »

            Krzysztof Kieslowski – Szpital AKA Hospital (1976)


            A film made in the emergency room of the traumatic surgery hospital located on Barska Street in Warsaw. Doctors attempt to help the injured in the face of frequent power shortages typical of the Polish People’s Republic.
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              Krzysztof Kieslowski – Przeswietlenie AKA X-Ray (1974)


              Made at the sanatorium of Sokolowsko in Lower Silesia, this film looks at individuals suffering from pulmonary disease and is a moving portrait of those living with illness.

              In this short film, Kieslowski tries to penetrate the world of people affected by lung disease. In style, this picture closely resembles a documentary completed four years earlier titled I Was a Soldier which gives voice to veterans who had lost their sight to war, whereas in this picture, it’s the lung disease patients whose stories we hear. The entire movie is composed of their tales. The only binding element of the story is the buckle of the movie’s landscape which places the story at a physical location, indicating its threshold – going home after their stay at the sanatorium. The statements are made directly into the camera; the director uses close up on their faces. He listens. Read More »