Filip buys an eight-millimetre movie camera when his first child is born. Because it's the first camera in town, he's named official photographer by the local Party boss. His horizons widen... See full summary »
Romek, an idealistc 19-year-old boy, takes a job as a tailor in the costume department of a Warsaw theater company where his new colleague, Sowa, is pressured to make a costume for an ... See full summary »
This documentary explores the changing faces of the old Polish city of Lodz, and how its modernization, both physically and culturally, affects the older, more conservative residents, many ... See full summary »
It's 1982: Poland is under martial law, and Solidarity is banned. Ulla, a translator working on Orwell, suddenly loses her husband, Antek, an attorney. She is possessed by her grief, and ... See full summary »
A look at the Central Station in Warsaw, the country's most famous building of the 1970s. There's the inevitable clash between delayed trains and chaos at the station, and the propaganda slogans glorifying the site.
[on his film "Camera Buff"]
You can say that the film shows the camera's power and how it can ruin everything dear to the protagonist, his family life, the relationship with his wife, the love for his daughter.
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I'm so-so is a documentary which works primarily because of the interesting subject and his familiarity with its director. It runs for 50+ minutes but is strategically divided into implicit chapters, each bookmarked by a short visual of Krzysztof Kieslowski saying how he feels that morning. Kieslowski, for the relatively short amount of time he made films, became a darling of the serious cinema buff. He created characters that had immense depth in their respective, flawed lives.
With I'm so-so, Krzysztof Wierzbicki (a one-time assistant to Kieslowski) picks individual films of his and works his way through some of the philosophies and ideas associated with them. Films like Camera Buff and Blind Chance are lesser known of Kieslowski's works and they get quite a bit of interest here. They somehow skip past much of Decalogue and the Red and White parts of the Colour Trilogy. But that is not really a major problem. Kieslowski displays a lively sense of humour and appears very comfortable talking about his films. Along with Werner Herzog's My Best Fiend, this is a great film about films and is a must-watch for all film students - serious or otherwise.
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