Program venue and film introduction
Romance film (Love Road Long and Short)
9/30(Sat)14:00
Directed by Kieslowski Krzysztof
Actors Grazyna Szapolowska ,Olaf Lubaszenko
1988 86 mins 35mm film
The young teenager falls in love with a beautiful woman in the apartment across the street. Every day, he spies on her from his binoculars, calls her just to hear her voice once, and not only does he take advantage of his position to fake a postal order for the woman to pick up from the post office to create a chance for the two of them to meet, but he even goes to work every day to apply for a job as a delivery boy for her. He even applies for a job as a deliveryman for her, so that he can bring her fresh milk before work every day. After a glimpse of her sadness, the teenager plucked up the courage to invite her, but the road of love between the two is not smooth and smooth, exactly how many more trials and suspicions, lonely souls can be released to comfort each other?
Camera Buff
9/30(Sat)19:00
Directed by Kieslowski Krzysztof
Starring Krzysztof Zanussi ,Jerzy Stuhr,Malgorzata Zabkowska
1979 112 mins 35mm film
In anticipation of the arrival of his newborn baby, Philippe made the decision to buy a new eight-centimeter camera that could only shoot for thirty seconds at a time. From this starting point, Philippe falls into the kaleidoscope of the world of images. From the minutes of meetings to the moments of his life, he becomes obsessed with turning the people around him into a piece of the movie world, a passion that leads to recognition, a grand prize in competitions, and even a promising future as a real filmmaker. But when the camera changes the way he sees the world, and changes the circumstances of his life, he is confronted with dilemmas and questions he never expected to have to face.
Considered by many as Kieslowski's autobiographically colorful movie mania, in fact, in the eyes of everyone who is crazy about movies, they will see their own sweet and helpless shadows and stories. The power of images leads a small-town citizen to an unknown but surprising journey, and when it penetrates into the life of the camera-wielder, how do we distinguish the intertwined phantoms of the real world and the world of images? How can we distinguish between the real world and the world of images? How do we compromise and resist between ourselves and our creations in order to be free from guilt? This movie, which was made more than twenty years ago, is still a penetrating yet heartfelt exposé of the interaction between art and life.
Blind Chance / Przypadek Song of Chance
10/5(Thu)14:00
Directed by Kieslowski Krzysztof
Actors Boguslaw Linda ,Zbigniew Zapasiewicz
The film is the first of its kind in the world to be released in the United States. p>
1987 122 min DVD
Trois couleurs: Rouge red amour
10/5(Thu) 19:00; 10/21(Sat) 14:00
Directed by Kieslowski Krzysztof
Actors Julie Delpy , Zbigniew Zamachowski , Zbigniew Zapasiewicz
Director Kieslowski Krzysztof
Actor Julie Delpy , Zbigniew Zamachowski Zbigniew Zamachowski
1994 91 mins 35mm film
Young Swiss schoolgirl Valentina accidentally discovers the secret of an old judge: he spends his days alone at home, tapping into other people's phone calls as a way of realizing the truth about the world. At first, Valentina finds this unacceptable, but as she learns more about the relationship between him and the people he taps, and the inexorable deception and lies that people tell, the two of them become friends, revealing to each other the betrayals and traumas of their lives that they never knew existed. The innocence of Valentina washes away the darkness of human nature, and at the end of the story, she finally meets a man who is often on the wrong side of her, who is in a similar situation as the old judge, and the warmth that comes from her heart and love is reborn.
In the Three Colors series, red is probably the gentlest ending, a metaphor for "fraternity," and this time it is carried out through a girl who is burdened with a terrible past but embraces forgiveness and purity, all the way back and forth in a long and delicate way. In the end, after the ship's sadness, Kieslowski lets us see the many possibilities and definitions of fate and human nature, light and shadow, sadness and forgiveness, and as a three-color finale, it's an echoey and moving Pollyanna. 〈文／logic浥薇〉
Trois couleurs: Blanc White Love Fever
10/12(四)19:00; 10/21(六)16:00
Directed by Kieslowski Krzysztof
Actors "Ir?ne Jacob ,Jean-Louis Trintignant"
1994 99 mins 35mm film
Polish hairdresser Karol falls in love with French hairdressing model Dominique, and the two get married and settle in Paris. The language and cultural differences make it difficult for Karol, and his career suffers, which affects his and Dominique's sex life. Dominique filed for divorce on the grounds that her husband was unable to fulfill his sexual needs, and she wiped out all of Carlo's assets, including his barber shop.
With no money, Carlo doesn't even have a passport to return to Poland, so his friends have him shipped back to Poland in a suitcase. In order to get his revenge, Karel makes a fortune by taking a job as a guard in a money-changing syndicate, eavesdropping on a land development project and risking being killed.
Carlo, who has made a fortune, single-handedly directs his own fraudulent death and tricks Dominique into coming to Warsaw to collect her vast inheritance. On the night of the funeral, Dominique returns to the hotel to find Carlo in bed waiting for her, and the two of them relive their old dreams for one night, but the next day, Carlo disappears like a ghost, and the police arrest Dominique on suspicion of Carlo's murder.
Dominique knows that this is all a trick of Carlo's. She falls into Carlo's trap and is sent to jail. One dusk, Dominie sees Carlo through the prison window and Dominie tells Carlo in sign language to please wait for her.
Chislawski's works always accurately depict "destiny", white love is the second part of the blue-white-red trilogy, white symbolizes freedom, and the play presents how love can make a man and a woman deprive each other of their freedom, mixing love and hate, hurting each other and attacking each other on the way, and one's life also passes by hurriedly, perhaps this is destiny. (〈Wen/何景芳〉
Trois couleurs: Blue Blue Love
10/19(四)19:00; 10/21(六)19:00
Directed by Kieslowski Krzysztof
Actors Philippe Volter, Juliette Binoche ,Benot Rgent
Directed by Kieslowski Krzysztof
Actors Philippe Volter, Juliette Rgent, Benot Rgent Binoche ,Benot Rgent
1993 100 mins 35mm film
A musician and his daughter are on their way to a car accident, which kills both the husband and the daughter, leaving Julie with serious injuries. Faced with the loss of her former home, Julie decides to entrust her beloved husband's best friend, Olivetti, to handle the property, while renting out the house on her own and embarking on her own journey of healing. Julie meets some new people, but still has to go back and face some old things. Olivetti openly states that she will continue to finish her husband's unfinished symphony, and Julie, sensing Olivetti's intentions, offers to finish it for him, but Olivetti refuses. At the same time, Julie finally discovers that her husband was secretly dating a law student behind her back, and she meets with the pregnant female student. Surprisingly, this enables her to face the reality and move forward, and she decides to leave the house to her husband's unborn child, and she goes to the nursing home where her mother is staying to begin her peaceful and new life.
The protagonists are all musicians, so the film chooses to let the music speak for itself rather than the characters in many passages, and Zbigniew Preisner and Kieslowski have an amazingly imaginative way of complementing the images with the music in a way that makes this story of an inner journey resonate. The film won three awards at the 1994 Venice Film Festival for Best Film, Best Actress, and Best Cinematography. According to Kieslowski, the story is about "freedom", the irrevocable past and the ongoing future, where human trauma floats and sinks, and where it is so difficult to love and to die, but one must still love in order to be truly free. Yi Vai〉
The Double Life of Veronique / Double vie de Vronique, La Double Life of Veronique
10/14(Sat) 14:00; 10/26(Thu) 19:00
Directed by Kieslowski Krzysztof
Directed by Kieslowski Krzysztof
Directed by Kieslowski Krzysztof
Actors Irene Jacob ,Kalina Jedrusik
1991 98 mins 35mm film
Poland's Veronica, who has a heavenly voice, has just begun a wonderful life. In the square, she sees a girl on a tour bus who looks just like her taking pictures of her. She looks at it again and again, and something in her heart is tugging at her heart. The Polish girl Veronica died suddenly on the stage, and the French girl Veronica suddenly became sad and realized that she was lost, or that she was not alone in the world, but that she was in a new love affair, and that love affair made her see the mysterious connection between that thing and destiny. The life died, but another person took over, and the plot and the story are still unfolding, and it will never end.
Chislawski says the movie is about premonitions and connections that are hard to name. The golden filter casts the movie in a hue that is both dreamy and blissful, as if it is with this light that Veronica's world is truly complete. Interestingly, in the early stages of production, Kieslowski's preferred actors and actresses were American actor Andie MacDowell and Italian director Nanni Moretti, but by chance, the more suitable actors, Irène Jacob and Philippe Volter, were cast in the roles. The role of the actresses Irène Jacob and Philippe Volter. This was Kieslowski's first film in the Western world, and he even cut a separate version of the story for American audiences, which is quite interesting. The film's soundtrack, composed by the director's longtime partner Zbigniew Preisner, is a classic soundtrack that should not be missed, with its stirring ancient Italian score that conveys the subtleties of the characters and their interconnectedness.
Farewell to Kieslowski (Documentary)
10/14(Sat)16:00
170 min DVD
Farewell to the Master Kieslowski
WEN TIANXIANG
Krzysztof Kieslowski is one of the greatest directors of the last few years. Krzysztof Kieslowski was one of the greatest directors of recent years. He died, as most great directors do.
Born on June 27, 1941, in Warsaw, Poland, Kieslowski graduated from the Lodz Film Academy, a prestigious film school. Before that, he had gone through the "Fireman's Training Academy", which he hated, and the "Academy for House Technicians", which brought him a lot of rewards. The Lodz Film Academy was the third time he was admitted to this prestigious school, which only selects five or six out of 1,000 applicants.
After graduation, Kieslowski was assigned to work as a director at the Warsaw Documentary Film Studio, where he made a name for himself in the 1970s. In Poland, at least at the time, documentaries were not something to be used as TV pads or bureaucratic propaganda tools; they were not only screened in movie theaters, they even attracted a lot of people to see this "reality. But Chislawski realized that "not everything can be described. That's the biggest problem with documentaries. Making a documentary is like falling into a trap that you set for yourself. The closer you try to get to someone, the farther that person will hide." "I'm afraid of the real tears because I don't know if I have the right to film them. In those moments, I always feel like I'm the one who's stepping into the forbidden zone. That's the main thing that made me avoid documentaries."
Because the subject often shuts down his or her most honest and secretive side when facing the camera, the filmmaker can't help but question his or her own legitimacy when rolling the camera (a relationship that would later become the subject of Kee's second feature, "Cinema Mania"). Starting with a half-hour TV movie in 1973, he switched gears with his first feature, The Scar/Blizna, in 1976, and then shifted his focus to more freewheeling erotica.
When Polish cinema was mentioned in the past, either because of its remote location or because of the closed-off nature of the information, we might have thought that it was all dogmatic propaganda of the ****ing Communist Party, but that would have been a big mistake! Polish filmmakers have not only been prominent on the international stage since the Second World War, they have also been playing the role of an artistic conscience in the country. Among them, Cinema Group X, led by the highly regarded director Andrzej Wajda, is known around the world for its bitter and insightful political and social films. Tor, led by Krzysztof Zanussi, is the next big thing, with a focus on "morally anxious movies", and Kieslowski is one of the best of the best.
The irony is that although Chislawski's career dates back to 1968, and he won the Grand Prix at the Moscow Film Festival for his film Camera Buff/Amator (979), it was only after 1988 that the international film world really noticed his talent. The reasons are complicated. For one thing, his films were often banned during the martial law period; even if they weren't, the separation between different international camps made Eastern Europe unfamiliar to moviegoers from the rest of the world. But then again, because this period was not influenced by the mercantilism of Western Europe and North America, the artistic purity and national cinematic style of Eastern European films was maintained, and when the Iron Curtain was opened, it was immediately breathtaking. On the other hand, since the beginning of exchanges in the 1990s, Eastern European cinema has failed to deliver a few proud results.
In 1988, Kieslowski brought a short film about killing (A Short Film About Killing/Krotki film o zabijaniu) to the Cannes Film Festival. The short film, which lasted less than ninety minutes, was a profound interpretation of the omnipresence of the act of killing and the debatability of the death penalty, with the film's yellow-green, gloomy tone and penetrating insights. The film's eerie yellow-green color palette is complemented by its incisive introspection. Although the more conservative jury only awarded him the Jury Prize, the critics gave him the highest praise as "Hitchcock meets Dostoyevsky" (the finest in technique and thought).
At almost the same time, other festivals were reporting the appearance of a "strange" film called A Short Film About Love (1988). The movie is about an older boy who spies on a woman in an apartment across the street through binoculars every day, but it's a masterful portrayal of love and sex. And it's directed by a man named Kieslowski.
What's even more surprising is that not only are "A Murder Movie" and "A Love Movie" Chislawski's handiwork, but they're just two of the Ten Commandments (The Decalogue/Dekalog) that he's taken and extended! The Decalogue was a TV movie he made for television. The Decalogue is a TV movie he made for television. The Ten Commandments are interpreted in the lives of people from one of Warsaw's neighborhoods. Since the money came not only from the bowers, but also from the Ministry of Literature and Arts and from foreign countries, Kieslowski agreed to choose a few of the commandments to make a longer version of the movie, starting with the Fifth Commandment: "Thou shalt not kill". The Ministry of Arts and Letters picked the sixth commandment: "Thou shalt not commit adultery."
Many people thought that Kieslowski's films entered Taiwan when the 1990 Golden Horse International Film Festival took his "The Ten Commandments" as its first film. The Golden Horse International Film Festival listed his The Ten Commandments as the "Director's Spotlight" in 1990. In fact, as early as the end of 1989 and the beginning of 1990, Love Movie and Murder Movie had already been publicly released in Taipei. I will always remember the experience of watching "Love Movie" for the first time, when my whole heart and head felt like being electrocuted, and I could only lie paralyzed on the theater seat for a long time, not being able to help myself, and I became a believer of Chislawski from that time on.
After "The Ten Commandments," the self-important French took advantage of the opening up of exchanges between Eastern and Western Europe to immediately bring Kieslowski to France to make films. Usually, I'm more worried than happy about this kind of situation, because many directors can't make a good movie once they leave their own land, and I'm afraid that Kieslowski will make the same mistake. But "The Double Life of Veronique" (1991) is so good that it's reassuring.
It's hard to tell what the movie is "about," but it's so clear and transparent that it's more than the story can cover: two Veroniques, one in France, one in Poland, who don't know each other. One in Poland, although they do not know each other, but the French Veronica to Poland, sightseeing, had inadvertently photographed the Polish Veronica's photo; Polish Veronica in the middle of the song died suddenly, the French Veronica was sad for no reason, and even decided to give up singing. The purpose is not to show the coincidence, but to feel the connection and influence between people beyond logical imagination, emphasizing the value of individual subjectivity, and viewing the subtle stirrings of life as a valuable ability. Kieslowski takes the complex web of human relationships from the Ten Commandments on down and throws them into different countries, even between individuals separated by the yin and yang. But whether it's the rebirth of a woman from the experience of death, the discursive metaphors of Poland and France, or the similarity of the two lives, "Veronica on Both Sides" feels like a prelude or overture to the "Three Colors" series that follows.
Good movies are meant to be shared with good friends, but Kieslowski's films are not easy to see. When "Love Movie" and "Murder Movie" knocked on the door, there were too many people who didn't know what they were talking about, and other works could only be seen in a few shows at the Golden Horse Awards International Film Festival. Although domestic film distributors bought The Ten Commandments, they were only willing to show it twice at their own theaters in the strange "Friday Film Festivals", and after a few years of procrastination, they simply released it on video. It was only when Kieslowski announced that he was going to make a film based on the meaning of the three colors of the French flag (liberty, equality and fraternity), and his first film Blue/Trois couleurs: Bleu (1993) won the Golden Lion at the Venice Film Festival, that another film distributor in China bought the "Three Colors" series, and Blue/Trois couleurs became the first step for many Taiwanese fans to recognize Kieslowski's work. Blue Love has become the first step for many Taiwanese moviegoers to get to know Kieslowski. As for "Double Veronica", it was not until all the "Three Colors" were released that the film was released, and the subtitle "Double Veronica in This Life"
was added to the back of the film, making it a "finale" in the order of its release.
The "storytelling" approach to Kieslowski's films will never work, or else "Blue Crush" wouldn't be a movie about a broken woman who finds her second love. Think of the heroine after her husband and daughter died in a car accident, she intends to bury all the memories, but in the end, she touched the lollipop left behind by her daughter from her purse, and she peeled off the candy paper, as if she couldn't live with her teeth to chew hard pain; think of her can't stand the squeaking of rats at night, but she can't do anything about that snail's newborn baby rats (again, the mother-child complex); she has to wait for her husband's death to understand his secret; she thought that her life was over, only to find out that her husband's flesh and blood are still with him. She waits for her husband's death to learn his secret; she thinks her life is over, but realizes that her husband's flesh and blood has been born in another woman's womb. He arranges for the heroine to escape from her "past" only to realize that the shackles of her mind have not been loosened. Kieslowski seems to have a pair of eyes more than us to see the image of life repeating itself from time to time in the corners. What we need is the sensibility to realize the essence of what he has learned from it. If you look into it, even the music, the photography, the editing, all become a kind of spirit in it.
White/Trzy kolory: Bialy (1994), which won best director at the Berlin Film Festival, is about equality. Chiturawski does not seem to believe that men and women are born equal in love, that equality is not measurable, that it must be stumbled over, and that one must even use a little bit of cunning in order to stimulate a response of love, both physical and spiritual, from the other. He cast Zbigniew Zamachowski, the protagonist of The Ten Commandments, as a Polish hairdresser living in Paris whose beautiful French wife files for divorce because of his sexual impotence, and he returns to his homeland in a state of disarray, only to speculate on the game of capitalism, get rich, then cheat his ex-wife out of her inheritance, and then frame her for his crimes. The funny thing is that through all this sinister, frustrating truth, he finds true love for both of them. It is as if Kieslowski had found a better expression for Francois Truffaut's poorly made La Sirene du Mississipi (1969). Using a pair of enemies, it deconstructs love while shaping its myth.
Chislawski announced his retirement from film at the press conference for "White Love" at the Berlin Fringe, at a time when it was already known that "Red/Trois couleurs: Rouge," the conclusion of the "Trois Couleurs" series, would be his last film (many sources mistakenly thought that he announced his retirement from film at the press conference for "Red/Trois couleurs: Rouge," which took place in Cannes). (Many sources mistakenly believe that Kieslowski announced his retirement at the Cannes press conference for Rouge: Rouge, 1994, and that Kieslowski retired in disappointment because Rouge didn't win at Cannes). It's hard to know how I felt when I received the news. Seeing the good in the bad is, of course, a beautiful ending, and not something one often does. But it's a shame for an artist of such creative vigor to fade away from the movie world.
As a conclusion to the "Three Colors" series, or as a wrap-up to a career in film, "Red Love" commands a great deal of respect. Kieslowski's film allows two individuals with completely different attitudes towards life to engage in a complex dialog between obsession and interaction. It's good just to say that it ends well! A good-natured model (Elaine Jacobs) decides to take a ship to England on the advice of an old judge (Jean-Louis Teilhardie), and when the weather reports clear skies, the 1,400-passenger liner capsizes at sea. Then a gust of wind knocks over the old judge's wine glass on the dugout, and he hears the news on a television given to him by a model. In the camera, feelings are projected from one object to another, but they reflect the intertwined and unpredictable emotions of the characters, and even the director. It's as if the red flag belonging to the rescue ship fluttering in the wind behind the model as she's being rescued is the same as the one she shot for the chewing gum advertisement, but the emotions are worlds apart. The contrast is not a coincidence, it's a repetition of the theme, and it's also the director's view of the impermanence of life.
But I wouldn't call it "fatalistic" I've always objected to the notion that Chislawski's films are fatalistic; he's indeed pessimistic, not necessarily fatalistic, and "pessimist who transcends fatalism" would be a more appropriate description. It is not difficult for the sharp-eyed viewer to realize that in addition to the model and a man who looks like a young replica of the old judge, the last people to be rescued in the shipwreck of Red Love are also the male and female protagonists of Blue Love and White Love, as well as a stranger. This is the director's declaration, just as a man's conscience cannot save the whole world from suffering, he has no right to tell you how many died and how many people were saved, but he can be responsible for the characters he created. This is the reason why the protagonists of the "Three Colors" show up at the end, and the stranger is the unknown to which the director cannot give an answer either. There is a sense of the immensity of life, but beyond the knowledge of life, there is no let-up. The tears shed by the old judge at the end of the movie are like Kieslowski's, shed for the destiny of heaven and for all beings.
I must admit: I have to hesitate every time I write about Chislawski. My talent is limited! It's as if, in the face of all the works I love, the interpretation of words feels redundant and sacrilegious, to quote Chislawski: "Basically, if it's a good movie and I like it, then I'm less likely to analyze it, unlike when I watch a movie that I don't like." If I had to explain my feelings about Chislawski's work, I would rather borrow a quote from him: "For me, the sign that art is rich in quality and style is that when I read, watch or listen to it, I can suddenly feel with intensity and clarity that someone has made explicit an experience or an idea I have had, and that although the experience or idea is one-dimensional, the author has been able to utilize it in a way that I could not have imagined, better combinations of words, imaginative arrangements, and sounds than I could have imagined. Otherwise, it was able to give me a feeling of beauty or joy in a moment." The same is true of Kieslowski's films for me.
In 1996, after the Spring Festival, I suddenly wanted to watch Love Movie again (although I had already seen it many times), and after I finished watching it, I thought about the course I was supposed to take for the Film Club of the University of Hong Kong in the new semester, and thought that I should do a study of Kieslowski's films. On March 13, the first class began with an introduction of his life, followed by the First Commandment of the Ten Commandments: the sadness of a loved life lost for no reason. After class, I continued to drink tea with my classmates and talk about Kieslowski's movies. On the way home, I was half-asleep and half-awake due to fatigue, and I didn't know how long the car had been parked. When I opened my eyes, I found a train motionless on the level crossing, and I didn't know whether it was broken or not, and I couldn't move even in the face of this surrealistic view of the long line of traffic. I endured for half an hour, and it took me half a minute to go around and around before I could go around in a circle. When I got home, I searched for a few unsatisfactory articles I had written about Chitourouzky and listened to the phone messages. Because of intentional or unintentional delays, I got a few more messages from newspapers calling me with no reason for the urgency of the situation, and then I heard: "Chislawski has passed away! I was staring at an article on "Farewell to the Master," which I wrote when Kieslowski announced his retirement, and I wrote "Farewell to the Master" instead of "Farewell to the Master" because I didn't want to let go of him.
Thinking of this night like the plot of a Kieslowski movie, I sat for a long time before I found a pen and paper and finally wrote:
Farewell to the master, Kieslowski (1941.6.27-1996.3.13).
Note: This article was originally published in World Cinema in April 1996
This article was later published in Farewell to the Masters: Foreign Language Cinema 1990-1996, published by Knowledge Books
Chislawski's works
1966 The Tram, a short film
The Office, a documentary
1967 Concert of Requests, a film by Kieslausky (1941.6.27-1996.3.13), a film by Kieslausky. 1967 Concert of Requests Home Movie
1968 The Photograph Documentary
From the City of Lodz Documentary
1970 I Was a Soldier Documentary
The Factory Documentary
Factory Factory Documentary
1971 Before the Rally Documentary
1972 Refrain Documentary
Workers' 71 Documentary
1973 Bricklayer Documentary
Pedestrian Subway Pedestrian Subway TV Home
1974 X-Ray X-Ray Documentary
First Love Documentary
1975 Curriculum Vitae Documentary
Personnel TV Home
1976 Hospital Hospital Documentary
Stone Slate Short Film
The Scar Home Movie
The Calm TV Home
1977 From a Night Porter's Point of View Documentary
I Don' t Know Documentary
I Don' t Know Documentary
1978 Seven Women of Different Age Documentary
1979 Camera Buff Home Movie
1980 Station Station Documentary
Talking Heads Documentary
1981 Blind Chance Documentary
No End Documentary
1988 Seven Days a Week Documentary
A Short Film About Killing Documentary
A Short Film About Love Documentary
A Short Film About Love Documentary
The Short Film About Love Documentary
The Short Film About Love Documentary
The Short Film About Love Documentary
A Short Film About Love Documentary
The Decalogue TV Movie Collection
1991 The Double Life of Veronique Home Movies
1993 Blue Blue Home Movies
White Love White White
1994 Red Red
A Short Film about Love
Directed by Krzysztof Kieslowski
Actors Grazyna Szapolowska, Olaf Lubaszenko
The film was released in 1994 and is now available on DVD. p>
Year of Production: 1988
Language: Polish
Length: 83min
A young teenager falls in love with a beautiful woman in the apartment across the street. He spies on her through binoculars every day, calls her just to hear her voice once, and not only does he use his job as an agent to fake a mail order for the woman to pick up from the post office, but also goes on a job for her to get the opportunity to meet her. He even applies for a job as a deliveryman for her, so that he can bring her fresh milk every day before she goes to work. After a glimpse of her sadness, the teenager plucked up the courage to invite her, but the road of love between the two is not smooth and smooth, exactly how many more trials and suspicions, lonely souls can be released to comfort each other?
The love story is a play on the seventh commandment in Kieslowski's famous TV movie The Ten Commandments. From a very small plot, Kieslowski poses the most basic, yet difficult philosophical proposition: What is love? What does it involve? Can visible things prove the existence of love? "How should love be expressed? At the end of the movie, the woman finally sees the telescope that reveals her deep love. Looking through it, she sees her crying self, and the true heart that comes to comfort her, and it is in these misunderstandings and forgiveness that love discovers its own meaning.
Camera Buff
Directed by Krzysztof Kieslowski
Starring Jerzy Stuhr, Malgorzata Zabkowska, Ewa Pokas, Stefan Czyzewski
Year of Release: 1979
Language: Polish
Length: 112min
In anticipation of the arrival of his newborn baby, Filippo decides to buy a new eight-centimeter camera, which can only shoot for thirty seconds a turn. From this starting point, Philip falls into the kaleidoscope of the image world. From the minutes of meetings to the moments of his life, he becomes obsessed with turning the people around him into a piece of the movie world, a passion that leads to recognition, a grand prize in competitions, and even a promising future as a real filmmaker. But when the camera changes the way he sees the world, and changes the circumstances of his life, he is confronted with dilemmas and questions that he never expected to have to face.
Considered by many as Kieslowski's autobiographically colorful movie mania, in fact, in the eyes of everyone who is crazy about movies, they will see their own sweet and helpless shadows and stories. The power of images leads a small-town citizen to an unknown but surprising journey, and when it penetrates into the life of the camera-wielder, how do we distinguish the intertwined phantoms of the real world and the world of images? How can we distinguish between the real world and the world of images? How do we compromise and resist between ourselves and our creations in order to be free of guilt? This movie, made more than twenty years ago, is still a penetrating and heartfelt exposé of the interplay between art and life.