Dekalog (1989–1990)
12 user 22 critic

Dekalog, osiem 

"Thou shalt not bear false witness against thy neighbour". A Polish-American researcher visits Warsaw and attends a lecture about ethics. Afterwards, she approaches Zofia, the lecturer, and... See full summary »




Episode cast overview, first billed only:
Maria Koscialkowska Maria Koscialkowska ... Zofia
Teresa Marczewska ... Elzbieta
Artur Barcis ... Young Man
Tadeusz Lomnicki ... Tailor
Marian Opania ... Dean
Bronislaw Pawlik ... Philatelist
Wojciech Asinski Wojciech Asinski ... Student
Marek Kepinski Marek Kepinski ... Tenement Resident
Janusz Mond Janusz Mond
Krzysztof Rojek ... Rubber Man
Wojciech Sanejko Wojciech Sanejko
Ewa Skibinska ... Student
Wojciech Starostecki ... Student
Jerzy Schejbal ... Ksiadz (credit only)
Jacek Strzemzalski Jacek Strzemzalski ... Tenement House Caretaker


"Thou shalt not bear false witness against thy neighbour". A Polish-American researcher visits Warsaw and attends a lecture about ethics. Afterwards, she approaches Zofia, the lecturer, and says that she is the little Jewish girl whom Zofia refused to shelter during World War II. But Zofia has a very good reason for her apparent cowardice... Written by Michael Brooke <>

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Poland | West Germany



Release Date:

22 June 1990 (Poland) See more »

Filming Locations:

Warsaw, Mazowieckie, Poland


Box Office


$100,000 (estimated)
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Company Credits

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Technical Specs


Sound Mix:




Aspect Ratio:

1.33 : 1
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Did You Know?


The ethical dilemma narrated by the student in Zofia's class is actually the plot of Decalogue II. See more »

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User Reviews

A woman haunted by the memories of her unhappy childhood.
15 April 2005 | by AquilantSee all my reviews

Dekalog 8 introduces a debate about a situation described in the second episode of the series, with regard to some interesting researches about thematic morals made in an unadorned lecture hall. As in a game of mirrors, Kieslowski's magical poetry proposes subtle allusions, references, previous solutions analysed under different points of view.

The analysis of Elzbieta's personal story framed within the context of her restless past and recalled in the light of her present time made of painful and unavoidable confrontations proposes the harassing thought about our duty to God, about our moral obligations towards the Christian commandment, "Thou shalt not bear false witness against thy neighbour". Is it possible to be merciful to our fellowmen even at the risk of violating the dictates of divine commandments? Are we allowed to help people even if we are aware about the incompatibility between the ethical principles applied to the evidences of religion and the intention of "bearing false witness against our neighbour" to a good purpose? Is it really possible to give up the idea of getting out of the clutches of the Nazi police a six-year-old Jewish child in the desperate need of a certificate of baptism only on account of moral and religious scruples? The dramatic explanation between Elzbieta, haunted by the memories of her unhappy childhood, and Zofia, the elder woman who refused to give her a passport to safety many years ago, call to our minds a sense of bewilderment and affliction.

Both of them are afraid of something going up in smoke around them and nothing escapes their remembrances of a painful past. Sad remembrances of course, because nothing hurts like the truth. Crude in the same manner as a vivisection of the soul. Conjured up with surgical precision in the coldness of an utterly impersonal ambient. Maybe only a cathartic face to face between the two women would give life to new friendly relations made of comprehension, explanations, reconciliations. Kieslowski divides all humanity into two parts: the saviors and the saved. His strict dialectics traces all the uneven steps of the story in a very subtle way. He likes to give back to human dignity its state of primitive and natural innocence, deeply upset by a pressing sense of misinterpreted obedience to the precepts of the Church.

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