19-year-old Tomek whiles away his lonely life by spying on his opposite neighbour Magda through binoculars. She's an artist in her mid-thirties, and appears to have everything - not least a... See full summary »
In 'Gegen die Wand' Cahit, a 40-something male from Mersin in Turkey has removed everything Turkish from his life. He has become an alcoholic drug addict and at the start of the movie wants... See full summary »
A mute woman along with her young daughter, and her prized piano, are sent to 1850s New Zealand for an arranged marriage to a wealthy landowner, and she's soon lusted after by a local worker on the plantation.
Mabel, a wife and mother, is loved by her husband Nick but her madness proves to be a problem in the marriage. The film transpires to a positive role of madness in the family, challenging conventional representations of madness in cinema.
19-year-old Tomek whiles away his lonely life by spying on his opposite neighbour Magda through binoculars. She's an artist in her mid-thirties, and appears to have everything - not least a constant stream of men at her beck and call. But when the two finally meet, they discover that they have a lot more in common than appeared at first sight... Written by
Michael Brooke <email@example.com>
A magical world made of unadorned rooms and dreary meetings
The obscure object of Tomek's desire is always the same: the magical world of the attractive woman in the opposite palace, made of unadorned rooms and dreary meetings. The young busybody caught by the merciless camera in the act of scrutinizing the voluptuous, graceful shape of her scantily exposed human flesh feels a sensation of warmth in his heart, picturing to himself a dream world where the people can be embraced with the power of his piercing glance. His level of mental perception seems to grow exceedingly at the moment of penetrating the innermost recesses of Magda's intimacy, his recalcitrant flame of passion, his fickle, forbidden desire.
But Tomek is not satisfied with the sight of her bare-legged beauty (opaque and unlikely reminiscence of the evangelic Mary Magdalene), he does not want to remain a passive onlooker. Like a capricious and authoritarian "Demiurge" he devises disturbing situations by means of the phone in order to claim the exclusiveness of his prey, running the risk of being given a sound trashing. On account of his state of blind unconsciousness, he runs on burning coals, aflame with curiosity and passion, almost paying heavy tribute to arbitrary flights of fantasy.
The movie is an extended version of "Dekalog 6", (Thou shalt not commit adultery), with a different epilogue. It gives us a good reason to get to the heart of Kieslowski's art of poetry and to relive the emotions of an ambiguous and poignant story, probably the most licentious of the whole Decalogue, a ruthless description of an insatiable desire for possession, caused by a mind deviating from the straight path. A piece of work made of immoral ambiguity and irresponsible premeditation. A dangerous midsummer night's dream carried out awkwardly, fated to rush headlong into an open conflict with a pitiless reality without finding a way of escape.
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