Krzysztof Kieslowski – Trois couleurs: Rouge AKA Three Colors: Red (1994)

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This boldly cinematic trio of stories about love and loss, from Krzysztof Kieślowski was a defining event of the art-house boom of the 1990s. The films are named for the colors of the French flag and stand for the tenets of the French Revolution—liberty, equality, and fraternity—but that hardly begins to explain their enigmatic beauty and rich humanity. Set in Paris, Warsaw, and Geneva, and ranging from tragedy to comedy, Blue, White, and Red (Kieślowski’s final film) examine with artistic clarity a group of ambiguously interconnected people experiencing profound personal disruptions. Krzysztof Kieślowski closes his Three Colors trilogy in grand fashion with an incandescent meditation on fate and chance, starring Irène Jacob as a sweet-souled yet somber runway model in Geneva whose life intersects with that of a bitter retired judge, played by Jean‑Louis Trintignant. Marked by intoxicating cinematography and stirring performances by such actors as Juliette Binoche, Julie Delpy, Irène Jacob, and Jean-Louis Trintignant, Kieślowski’s Three Colors is a benchmark of contemporary cinema. (-Criterion) Continue reading

Krzysztof Kieslowski – Trzy kolory: Bialy AKA Three Colors: White (1994)

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This boldly cinematic trio of stories about love and loss, from Krzysztof Kieślowski was a defining event of the art-house boom of the 1990s. The films are named for the colors of the French flag and stand for the tenets of the French Revolution—liberty, equality, and fraternity—but that hardly begins to explain their enigmatic beauty and rich humanity. Set in Paris, Warsaw, and Geneva, and ranging from tragedy to comedy, Blue, White, and Red (Kieślowski’s final film) examine with artistic clarity a group of ambiguously interconnected people experiencing profound personal disruptions. The most playful and also the grittiest of Kieślowski’s Three Colors films follows the adventures of Karol Karol (Zbigniew Zamachowski), a Polish immigrant living in France. The hapless hairdresser opts to leave Paris for his native Warsaw when his wife (Julie Delpy) sues him for divorce (her reason: their marriage was never consummated) and then frames him for arson after setting her own salon ablaze. White, which goes on to chronicle Karol Karol’s elaborate revenge plot, manages to be both a ticklish dark comedy about the economic inequalities of Eastern and Western Europe and a sublime reverie about twisted love. Marked by intoxicating cinematography and stirring performances by such actors as Juliette Binoche, Julie Delpy, Irène Jacob, and Jean-Louis Trintignant, Kieślowski’s Three Colors is a benchmark of contemporary cinema. (-Criterion) Continue reading

Krzysztof Kieslowski – Trois couleurs: Bleu AKA Three Colors: Blue (1993)

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This boldly cinematic trio of stories about love and loss, from Krzysztof Kieślowski was a defining event of the art-house boom of the 1990s. The films are named for the colors of the French flag and stand for the tenets of the French Revolution—liberty, equality, and fraternity—but that hardly begins to explain their enigmatic beauty and rich humanity. Set in Paris, Warsaw, and Geneva, and ranging from tragedy to comedy, Blue, White, and Red (Kieślowski’s final film) examine with artistic clarity a group of ambiguously interconnected people experiencing profound personal disruptions. In the devastating first film of the Three Colors trilogy, Juliette Binoche gives a tour de force performance as Julie, a woman reeling from the tragic deaths of her husband and young daughter. Marked by intoxicating cinematography and stirring performances by such actors as Juliette Binoche, Julie Delpy, Irène Jacob, and Jean-Louis Trintignant, Kieślowski’s Three Colors is a benchmark of contemporary cinema. (-Criterion) Continue reading

Krzysztof Kieslowski – Przypadek AKA Blind Chance [+Extras] (1987)

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Krzysztof Kieslowski’s Blind Chance is a powerful political fable that provides an early glimpse at the unique style that would later lead to acclaimed international successes like the Three Colors Trilogy and The Double Life of Veronique. As with the later films, Kieslowski displays a deeply erotic, sensual sensibility and a warm humanism that inflects every facet of this complex film. He also shows signs of the spiritual outlook and interest in fate and overlapping chronologies that is especially prevalent in the films he’s best known for. Blind Chance begins with a brief, elliptical precis of the early life of Witek (Boguslaw Linda), starting with a few childhood scenes, his first love, his days in medical school, and finally the death of his father. Many of these earlier memories will later be shown to be false or at least incomplete, hazily remembered scenes from the distant past that have taken on iconic status in Witek’s mind even if the particulars aren’t quite accurate. Continue reading

Krzysztof Kieslowski – Krótki film o zabijaniu AKA A Short Film About Killing (1988)

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Death from the very beginning — a rat decomposing in the water, a cat hanging from a railing as giggling children run off. In Krzysztof Kieslowski’s expansion of the Decalogue: Five segment (“Thou shalt not kill”), the commandment bounds individual and governmental killing into one object of anguished contemplation. Biblical intimations also figure in the bar exam summation (“Since Cain, no punishment has been capable of improving the world”) of apprentice attorney Krzysztof Globisz, one of the three Warsaw dwellers whose path ominously converge; the others are a 20-year-old drifter (Miroslaw Baka) and a jaundiced, middle-aged cabbie (Jan Tesarz). The obscured-vision effects of Slawomir Idziak’s dirty-sepia filters — characters encircled by soiling irises — suggest isolated realities clashing appallingly in the most excruciating murder since Torn Curtain’s farmhouse killing: a mid-ride throttling, Tesarz’s writhing foot emerging bare from shoe and sock, a heavy body dragged through an almost Tarkovskyan marsh before the final bludgeoning at Bakas hand’s. Continue reading

Krzysztof Kieslowski – Krótki film o milosci AKA A Short Film About Love (1988)

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An obscured thief breaks into a school gymnasium at night to steal a portable telescope from the science lab. On the following morning, the thief, Tomek (Olaf Lubaszenko) sets up the telescope on his desk, facing the window of his room, and across the courtyard into an adjacent apartment. Later in the day, an attractive, hurried woman named Magda (Grazyna Szapolowska) stops by the post office in order to claim a money order after receiving a notification in her mailbox, only to be informed by the attentive young postal clerk, Tomek, that there is nothing being held at the station on her behalf. Back home, Tomek sets his alarm clock to 8:00 pm, the approximate time of Magda’s return home. Tomek would prepare his meals and dine in the privacy of his room, away from the curious gaze of his godmother (Stefania Iwinska), and spend hours observing Magda as she goes through the routine of her household tasks, often placing anonymous, silent telephone calls to hear the sound of her voice. Continue reading