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Topic: Krzysztof Kieslowski

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	Krzysztof Kieślowski - Wikipedia, the free encyclopedia
		Krzysztof Kieślowski (June 27, 1941, Warsaw – March 13, 1996, Warsaw) was an influential Polish film director and screenwriter, known internationally for his film cycles Three Colors and The Decalogue.
		Krzysztof Kieślowski died on March 13, 1996 during open-heart surgery following a heart attack, and was interred in Powązki Cemetery, Warsaw, Poland.
		Krzysztof Kieslowski's Decalogue series: the problem of the protagonists and their self-transcendence.
	en.wikipedia.org /wiki/Krzysztof_Kieslowski (1775 words)

	Krzysztof Kieslowski HomePage (Site not responding. Last check: 2007-11-07)
		Krzysztof Kieslowski was born in Warsaw on June 27, 1941.
		Kieslowski is a member of the Polish Filmmaker Association; where he was a deputy chairman from 1979 to 1981.
		Krzysztof Piesiewicz was born in Warsaw on October 25, 1945.
	www-personal.engin.umich.edu /~zbigniew/Kieslowski/kieslowski.html (1302 words)

	Columbia News ::: Renowned film scholar Annette Insdorf discusses the subject of her new book, Polish filmmaking legend ...
		Krzysztof Kieslowski may not be a name that springs to mind, yet many critics and fellow filmmakers, such as Stanley Kubrick and Wim Wenders, would put him on that list.
		Insdorf first met Kieslowski in 1980 when she was asked to translate for the director at the New York Film Festival; they developed both a working and personal relationship until Kieslowski's untimely death in 1996 at the age of 54.
		Kieslowski is clearly not the only filmmaker able to do so--Jean Renoir and Bertolucci are names that come to mind--but rarely have I found a body of work that is as morally, politically, and spiritually rich as it is stylistically arresting.
	www.columbia.edu /cu/news/99/11/insdorf.html (1002 words)

	Krzysztof Kieslowski (film retrospective)
		Krzysztof Kieslowski (1941-1996) was one of Karabasz's students, and his student films (Tramwaj - The Tram, Urzad - The Office, Koncert zyczen - Concert of Requests, Zdjecie - The Photograph and Z miasta Lodzi - From the City of Lodz, 1966-1969) reflected his admiration for his teacher.
		Kieslowski was a man of integrity and did not intend to give up his artistic control, although his attitude caused several skirmishes with the authorities.
		Kieslowski rarely illustrated the commandments (as in parts 1 and 5); he usually outlined their interpretation (in part 3), but most often he modified their traditional meaning (as in part 2 and 8).
	www.industrycentral.net /director_interviews/KK04.HTM (7129 words)

	Books
		Kieslowski on Kieslowski is largely based on interviews recorded and translated in Paris in December 1991, May 1992, and Summer 1993, by the England-based writer Danusia Stok.
		Kieslowski's preoccupation with ethical dilemmas and the question of moral choice (abundant examples can be found in his Decalogue and other films) is rooted in his cultural and political background.
		Kieslowski demystifies with keen insight the popular Western myth about the omnipotence of Communist censorship offering an eloquent comparison between the restrictions in the totalitarian Poland and the present situation in the western world: "[I]t was easier to make films there than it is under the economic censorship here in the West.
	www.kinema.uwaterloo.ca /ju-rv951.htm (772 words)

	A visual Kafka in Poland
		Kieslowski’s first two short films point in two different directions and in many ways start the two major themes and tendencies in his whole oeuvre.
		Kieslowski’s film The Office is a clever documentary film with a sharp but subdued political message and critique of a communist bureaucracy.
		The visual, documentary strategy established in Kieslowski’s first student film is thus amazingly mature and finished and was basically used throughout a large part of his other documentary films between 1960-1980.
	imv.au.dk /publikationer/pov/Issue_13/section_3/artc2A.html (2242 words)

	A Tribute to Krzysztof Kieslowski
		Kieslowski says it all in the visual comparison between Karol's handsome hairdressing salon on a grand boulevard in Paris and the tacky storefront on a muddy back street in Warsaw to which the defeated Karol returns.
		Kieslowski's films, like Hitchcock's, are full of watchers, from the politically naive camera buff who doesn't know what he's seeing to the young man in A Short Film About Love who spies on the sexually active woman living across the courtyard.
		His story becomes Red's subplot, as Kieslowski weaves in glimpses of his life as a student, preparing for the big exam that will qualify him to be a judge, and his relationship with Karin, a young woman who operates a personalized weather service out of her apartment.
	my.dreamwiz.com /jyjung71/eng/three/trilogy.html (4143 words)

	Krzysztof Kieslowski's The Decalogue I and II
		Kieslowski makes better use of color than almost anybody, and revels in the small stuff: a wasp struggling to make its way out of a glass of juice as metaphor for life, or the portent of doom in a spilled pool of ink.
		Krzysztof Kieslowski's The Decalogue III and IV Episode III, based upon honoring the Sabbath, is set on Christmas Eve, as a married man encounters a former lover who uses a series of pretenses to keep him with her through the evening.
		Episode IV ("Honor thy father and thy mother") is altogether more harrowing and difficult, as a young woman discovers, via a note from her late mother, that the man she lives with isn't her real father, forcing her to deal with both abandonment issues and semi-incestuous urges.
	www.lytrules.com /Reviews/Decalogue.htm (751 words)

	3/25/96 INT/APPRECIATION: KRZYSZTOF KIESLOWSKI (Site not responding. Last check: 2007-11-07)
		Kieslowski realized this and, as he later wrote, "I used to set up the two cameras in the courts without even bothering to check whether they were loaded with film or not."
		His studies of alienation and obsession were among the most elegant, intelligent films of the past decade: the 10-part Decalogue TV series in 1988-89 and the Three Colors trilogy (Blue, White and Red) of the early '90s.
		In the Polish films that made Kieslowski's early reputation, the vistas are bleak--walls caked with dinge--and the moral is bleaker: what you've got may be bad, but what you want is worse.
	www.time.com /time/international/1996/960325/appreciation.html (741 words)

	MTV.com - Movies - Krzysztof Kieslowski (Site not responding. Last check: 2007-11-07)
		A towering figure of Eastern European cinema, Krzysztof Kieslowski was born in Warsaw, Poland, on June 27, 1941.
		Among Kieslowski's documentaries of the early '70s were Bylem Zolnierzem (I Was a Soldier), Fabryka (Factory), Przed Rajdem (Before the Rally)' and Refren (Refrain).
		Finally, in 1988, Kieslowski was given the green light to begin filming The Decalogue, a ten-part miniseries commissioned for Polish television.
	www.mtv.com /movies/person/86015/bio.jhtml (1224 words)

	A Tribute to Krzysztof Kieslowski
		Among Kieslowski's documentaries of the early 1970s were Bylem Zolnierzem (I Was a Soldier), Fabryka (Factory), Przed Rajdem (Before the Rally) and Refren (Refrain).
		Kieslowski even earned an Academy Award nomination for "Best Director." At the peak of his powers, the filmmaker chose to walk away from the limelight, and upon the completion of Red he announced his retirement from movies.
		Reportedly, he was considering a return to the cinema with a new trilogy based around the themes of heaven, hell and purgatory when, on March 13, 1996, he entered the hospital to undergo open-heart surgery.
	my.dreamwiz.com /jyjung71/eng/kie/bio.html (1186 words)

	Kieslowski's Red brilliantly concludes French trilogy (Site not responding. Last check: 2007-11-07)
		Kieslowski's "three colors" trilogy is one of the more ambitious cinematic statements by a major international director.
		Kieslowski's films are suited to the art-cinema crowd, but his stories convey genuine emotions in a larger social context.
		To offset some of the drama, Kieslowski makes tongue-in-cheek references to the other films in the trilogy, and he bathes the surroundings in a warm, reddish hue (just as the other films seem permeated by their title colors).
	www-tech.mit.edu /V114/N65/red.65a.html (627 words)

	Review: Krzysztof Kieslowski: I'm So-So (Site not responding. Last check: 2007-11-07)
		Kieslowski has always shunned the spotlight (preferring to "sit in a dark room and smoke"), so it's a credit to this film's director that he was able to present such a candid and moving portrait.
		Kieslowski confesses that because he knows Wierzbicki (as well several other men in the crew), "We can discuss meaningful and personal topics." He goes on to talk about, in some detail, his philosophy of documentary film making.
		Krzysztof Kieslowski: I'm So-So is a striking picture of an extraordinary man who made some of the most powerful films of the last two decades.
	movie-reviews.colossus.net /movies/k/kieslowski.html (594 words)

	Variety.com - Reviews - Krzysztof Kieslowski: I'm So-So ...
		Wallace & Gromit: The Curse of the Were-Rabbit
		Director Krzysztof Wierzbicki, who worked with Kieslowski as his assistant from 1972, as well as making his own docus, starts intriguingly with various specialists (a doctor, graphologist, etc.) drawing profiles of Kieslowski from his medical records, handwriting and so on.
		Kieslowski's answers to Wierzbicki's mostly general or philosophical questions are expertly managed and for the most part evasive, with the enigma of a great artist carefully preserved.
	www.variety.com /review/VE1117910973?categoryid=31&cs=1 (477 words)

	Krzysztof Kieslowski (Site not responding. Last check: 2007-11-07)
		Defined as Kieslowski's experimental, transitional work for Polish television, Decalogue is, in itself, a monumental achievement: a remarkable examination of moral tale colliding, and often yielding, against the bounds of human frailty.
		Julie's periodic swims in the pool (which appears blue at night), completion of her husband's unfinished symphony (with a blue pen), and transfer of their country estate to his mistress (who is expecting a boy) are all symbolic acts of closure.
		Kieslowski's achronologic use of flash forwards and flashbacks illustrates the film's underlying theme - resurrection (note the similar effect achieved in Akira Kurosawa's Ikiru).
	www.filmref.com /directors/dirpages/kieslowski.html (2185 words)

	Krzysztof Kieslowski in Oxford (Site not responding. Last check: 2007-11-07)
		Kieslowski replied equally courteously that Van den Budenmayer was a fictional character created by him and his composer, Zbigniew Preisner.
		Kieslowski's rise from relative obscurity, to being universally recognised among the ranks fo the world's most gifted living film- makers, was meteoric.
		Listening to Kieslowski, one is struck by his self-professed lack of faith in the medium with which he has come to address what many hold to be the spiritual malaise of our times.
	www.engin.umich.edu /~zbigniew/Kieslowski/KOxford.html (1494 words)

	(Site not responding. Last check: 2007-11-07)
		HEN the first two films of Polish director Krzysztof Kieslowski's "Trois Couleurs" trilogy, Blue (1993) and White (1994) were chosen to open and close the distinguished 18th Hong Kong International Film Festival, festival buffs and critics were delighted.
		Towards the finale of the film, Julie's recreation of her husband's music which is continuously playing in her head becomes like an erotic release: when her hands touch the musical score, the music rises and drowns the audience in a wave of climaxes and anti-climaxes.
		Kieslowski's powerful portrayal of a brooding and cynical retired judge who has never loved again after having been betrayed by the girl he once loved lends the film a primal sense of loss and affirmation.
	www.arts.uwaterloo.ca /FINE/juhde/tohgp961.htm (2854 words)

	eye - Ten singular sensations - 01.11.01
		BY While the Ten Commandments are the basis for the dramatic situations in Polish director Krzysztof Kieslowski's The Decalogue, the unifying image is not one of Moses ambling down Mount Sinai.
		Kieslowski regarded himself as an atheist, and his long-time writing partner, Krzysztof Piesiewicz, identified himself as a Christian but not a Catholic.
		Kieslowski and Piesiewicz's stories touch on a wide range of social, philosophical, ethical and -- since it was made during the protracted end of communist rule in Poland -- political issues.
	www.eye.net /eye/issue/issue_01.11.01/film/decalogue.html (920 words)

	A short website about Kieslowski - Biography
		Realism was what Kieslowski concentrated on, and indeed his films, especially the features, have a documentary feel to them.
		Kieslowski learned firsthand that censorship may ride on the coattails of exposure with BLIND CHANCE (1981), which considered three possibilities for Poland's political future as it explored three different outcomes springing from the premise of a student trying to catch a train.
		In March 1996 Kieslowski died due to heart compilcations in a Warsaw hospital, but not before announcing tentative plans for another trilogy rumoured to be based upon the concepts of HEAVEN, HELL and PURGATORY.
	www.patoche.org /kieslowski/biokies.htm (715 words)

	Amazon.com: Books: Double Lives, Second Chances : The Cinema of Krzystzof Kieslowski (Site not responding. Last check: 2007-11-07)
		Kieslowski is revealed to be a cinematic poet who crafted light, shadow, and movement into a vision of human fallibility and transcendence.
		Krzysztof Kieslowski, who died in 1996, perfected his art in movies lled with mesmerizing images of beauty and danger.
		WHEN KRZYSZTOF Kieslowski died on March 13, 1996, at the age of fifty-four, those who knew the director and his films experienced shock, grief, and then a particularly Kieslowskian questioning.
	www.amazon.com /exec/obidos/tg/detail/-/0786865628?v=glance (1017 words)

	Amazon.ca: DVD: Short Film About Killing (Site not responding. Last check: 2007-11-07)
		The late Polish film-maker Krzysztof Kieslowski, who began his career as a documentarian, has, with the Decalogue, produced what is surely one of the defining moments in late twentieth century cinema.
		Kieslowski's project, out of whose fifth episode this film grew, was nothing less than a wholescale re-interpretation of the Ten Commandments, applied to modern life.
		Kieslowski's film goes on to examine the consequences of the murder on not only Jacek but his young lawyer.
	www.amazon.ca /exec/obidos/ASIN/B0001ME576 (572 words)

	Krzysztof Kieslowski @ Filmbug UK
		Kieslowski was born on June 27, 1941, in Warsaw.
		In the mid-1980s, Kieslowski and his author Krzysztof Piesiewicz came up with the idea of making an unusual version of the Ten Commandments: ten sixty-minute films for television, brought together under the name Dekalog, that told stories of daily life in Poland.
		At the age of 54, Kieslowski died unexpectedly of a heart attack on March 13, 1996, in Warsaw.
	www.filmbug.co.uk /db/2904 (367 words)

	CityBeat: Small Screen Oasis for Film Buffs (2000-06-15) (Site not responding. Last check: 2007-11-07)
		Kieslowski achieved critical and popular success for The Double Life of Veronique and for his French tricolor trilogy, before his March 1996 death at 54 after coronary bypass surgery.
		Kieslowski confirms the horror of killing with a seven-minute scene of a 20-year-old drifter named Jacek strangling a cabdriver.
		Kieslowski and his screenwriting colleague, Krzysztof Piesiewicz, built their drama around the human inhabitants of their apartment complex.
	www.citybeat.com /2000-06-15/film.shtml (949 words)

	OFFOFFOFF film review THE DECALOGUE (Dekalog 1 through Dekalog 10) Polish movie by Krzysztof Kieslowski written by ... (Site not responding. Last check: 2007-11-07)
		Director Krzysztof Kieslowski's "The Decalogue" —; a sometimes brutal, often profound series based on the Ten Commandments —; challenges you to figure out how to be a moral person in a world with no easy answers.
		Krzysztof Kieslowski — the late director of "Blue," "White," "Red," and one of my very favorite films, "The Double Life of Veronique" — said little about the intention of "The Decalogue," but it has been seen as an attempt to rethink moral questions in the declining years of communism.
		The stories are unconnected (in fact, each uses a different cinematographer for a different look), except that the characters all come from the same dingy housing tower and, in a touch that Kieslowski used in his later films as well, characters from one episode often pop up in the background of another.
	www.offoffoff.com /film/2001/decalogue.php3 (924 words)

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