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 »
The plot couldn't be simpler or its attack on capital punishment (and the act of killing in general) more direct - a senseless, violent, almost botched murder is followed by a cold, ... See full summary »
Weronika lives in Poland. Véronique lives in Paris. They don't know each other. Weronika gets a place in a music school, works hard, but collapses and dies on her first performance. At this... See full summary »
Portrait of an artist as a young manic. First, a montage of still photographs of an artist's face. Then motion. He stirs in sleep; he paints and expresses frustration. He looks for a light ... See full summary »
A silent film. On a winter night, a young man stands apart at a club while others dance. He leaves, running to catch a tram. He notices a young woman sitting by herself. They make eye contact. He watches her as she looks away. He busies himself and chews a sugar cube; she smiles, then closes her eyes. He wonders what to do. He reaches his stop. Has he missed a life-changing chance? Written by
One of the first, if not the first, assignment in film school, is to make a silent film. Kieslowski has wisely limited his film to two characters and one location - a tram in the middle of the night- a boy- a girl- exchanged glances bespeaking of longings and loneliness and shyness. It is a clever and simple way of satisfying the assignment. The most interesting element is the way the boy chases the tram at the beginning, barely making it. The girl is on the tram suggesting the situation of the later masterpiece Blind Chance, except here, instead of the three alternative futures, each more bleak than the other, the young and still optimistic Kieslowski seems to give love and life a second chance to overcome fate or human weakness. The peculiar route of the tram at the end, looping back on itself, may be located at an end of the line turn around, but, being night, only the illumination from the tram can be seen as if playing a very strange game with the boy who takes up the chase after being given a second chance. It might be unfair, but it suggests, in a third hand, third eye kind of way, the overwhelmingly classic tram scene in Murnau's Sunrise
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