Krzysztof Kieslowski

Krzysztof Kieslowski: Three Colours Red

MikeDawson — Wed, 28 Sep 2011 02:48:08 -0700

Red is an evocative colour, perhaps the most evocative of the three used in Kieslowski’s Three Colours Trilogy; it is spread throughout the film, tables, curtains, jumpers even bubble gum is painted in deep dark sensual red. It brings to mind heat, lust, rage, death, but perhaps most predominantly, love.

Krzysztof Kieslowski: Three Colours White

MikeDawson — Wed, 21 Sep 2011 03:24:04 -0700

A commonly held view is that Three Colours White (1994) is the weakest in the trilogy, the film that failed to achieve a comparable level of quality to Three Colours Blue (1993) or Three Colours Red (1994). Part of me wishes to offer a controversial and perhaps revelatory re-assessment of the films quality, maybe even going so far as to claim that Three Colours White is the misunderstood centrepiece that outstrips its counterparts in every sense that matters. Unfortunately I am stifled by the facts.

Krzysztof Kieslowski: Three Colours Blue

MikeDawson — Wed, 14 Sep 2011 01:58:20 -0700

Liberty, equality, fraternity. The national motto of France since the 1789 revolution, institutionalised during the third republic in 1870, is the inspiration for one of the greatest film trilogies ever produced and Krzysztof Kieslowski’s cinematic swan song. As with the miraculous television series Dekalog four years earlier, Kieslowski and long time screenwriting collaborator Krzysztof Piesiewicz drew their inspiration from a set of socially ingrained and long held principles.

Krzysztof Kieslowski: The Scar and Camera Buff

MikeDawson — Wed, 15 Jun 2011 01:16:51 -0700

1976 saw the start of Krzysztof Kieslowski’s fiction film career, although he’d directed documentaries and television productions during the preceding decade, The Scar, represented his first venture in this most coveted of creative artistic positions. The Scar was one of two films Kieslowski directed in the 1970s, the other was Camera Buff released in 1979.

Krzysztof Kieslowski: No End

MikeDawson — Wed, 10 Feb 2010 02:14:54 -0700

Often the topic of genre is neglected in relation to the works of Poland’s greatest director, probably because the majority of Kieslowski’s films are difficult to categorise. From his first feature film The Scar to his last Three Colours Red, there is no one film that fits any particular genre except the broader categorisation of these films as “dramas” which is unhelpful in such matters as that term includes the widest range of films possible.

Krzysztof Kieslowski: No End - Podcast

Left_Field_Cinema — Tue, 09 Feb 2010 23:51:56 -0700

His fourth feature film as director is part ghost story, part political drama, but at all times - a Kieslowski film.

Krzysztof Kieslowski: The Double Life of Veronique

Left_Field_Cinema — Wed, 11 Nov 2009 05:36:47 -0700

Fading in on an image of a city at twilight, something becomes immediately apparent - the world is upside down. The street lights are stars; the clouds below are a large hazy fog which covers the ground. This seemingly innocuous opening image is filled with mystery, magic and suspense simply on account of being the wrong way up. We then cut to a young child, she to lies upside down, staring out of the window.

Krzysztof Kieslowski: The Double Life of Veronique - Podcast

Left_Field_Cinema — Wed, 11 Nov 2009 05:31:32 -0700

The Kieslowski series continues, this time examining his 1991 masterpiece and arguably greatest feature film, a study of the invisible connections between human beings.

Krzysztof Kieslowski: Dekalog – Episodes 06-10

MikeDawson — Wed, 20 May 2009 01:10:56 -0700

Continuing on from the Left Field Cinema analysis of episodes one to five of this television masterpiece. This edition will examine the second half of the series that Stanley Kubrick once described as the only masterpiece he could name that was filmed in his lifetime.

Krzysztof Kieslowski: Dekalog - Episodes 06-10 - Podcast

Left_Field_Cinema — Wed, 20 May 2009 01:02:15 -0700

Part two of two tackling a mini-series of ten one-hour films each examining one of the ten commandments, this edition of Left Field Cinema looks at the second five episodes, and tries to clarify what makes the second half of this ten hour masterpiece so compelling.