Krzysztof Kieślowski: Encyclopedia II - Krzysztof Kieślowski - Polish feature films

Krzysztof Kieślowski - Polish feature films

His first non-documentary feature, Personnel (1975), was made for television and won him first prize at the Mannheim Film Festival. Both Personnel and his next feature, The Scar, were works of social realism with large casts: Personnel was about technicians working on a stage production, based on his early college experience, and The Scar showed the upheaval of a small town by a poorly-planned industrial project. These films were shot in a documentary style with many nonprofessional actors; like his earlier films, they portrayed everyday life under the weight of a flawed system, but without overt commentary.

Camera Buff (1979) (which won the grand prize at the Moscow International Film Festival) and Blind Chance (1981) continued along similar lines, but focused more on the ethical choices faced by a single character rather than a community. During this period, Kieślowski was considered part of a loose movement with other Polish directors of the time, including Janusz Kijowski, Andrzej Wajda, and Agnieszka Holland, called the Cinema of Moral Anxiety. His links with these directors (Holland in particular) caused some raised eyebrows within the Polish government, and each of his early films was subjected to censorship and enforced re-shooting/re-editing, if not banned outright (Blind Chance was not released domestically until 1987, almost six years after it was completed).

No End (1984) was perhaps his most clearly political film, depicting political trials in Poland during martial law, from the unusual point of view of a lawyer's ghost and his widow. It was harshly criticized by both the government and dissidents. Starting with No End, Kieślowski's career was closely associated with two regular collaborators, the screenwriter Krzysztof Piesiewicz and the composer Zbigniew Preisner. Piesiewicz was a trial lawyer whom Kieślowski met while researching political trials under martial law for a planned documentary on the subject; Piesiewicz co-wrote the screenplays for all of Kieślowski's subsequent films. Preisner provided the musical score for No End and most of the subsequent films; the score often plays a prominent part in Kieślowski's films and many of Preisner's pieces are referred to within the films themselves. In these cases, they are usually discussed by the films' characters as being the work of the (fictional) Dutch composer Van den Budenmayer.

The Decalogue (1988), a series of ten short films set in a Warsaw tower block, each nominally based on one of the Ten Commandments, was created for Polish television with funding from West Germany; it is now one of the most critically acclaimed film cycles of all time. Co-written by Kieślowski and Piesiewicz, the ten hour-long episodes had originally been intended for ten different directors, but Kieślowski found himself unable to relinquish control over the project; in the end, each episode featured a different director of photography. Episodes five and six were also filmed in longer feature-length versions, and released internationally as A Short Film About Killing and A Short Film About Love respectively. Kieślowski had also planned to shoot a full-length version of Episode 9 under the title A Short Film About Jealousy, but exhaustion eventually prevented him from making what would have been his thirteenth film in less than a year.

Adapted from the Wikipedia article "Polish feature films", under the G.N U Free Docmentation License. Please also see http://en.wikipedia.org/wiki