Behind the Camera: Poland's Best Cinematographers". Facets. Archived from the original on 25 July 2010 . Retrieved 6 June 2017. Maja Komorowska - Irena: Krzysztof's sister, she deeply believes in God and does not understand her brother much but they respect each other and have in common their love for little Paweł. In the hands of a weaker director and writer — Krzysztof Piesiewicz co-wrote the series — each commandment may have been taken more literally. My naïve expectation when I first approached the series was that it each episode’s commandment would be obvious. I couldn’t name all ten commandments before watching the series, and the dilemmas of each film often overlapped several commandments. Importantly neither writer imposed their own views onto the characters: the audience is left free to judge the characters, their actions, and their decisions themselves. What might we do in the same situation? Would we ever get into that situation? How would we resolve it?

Individual documentaries may indeed be scripted and structured to prove a point, but the form has an a priori openness to the unexpected, the uncontrolled, even the unreadable. Reality can transfix, however uncertain its meaning—or precisely because uncertainty nags like a riddle one feels it might be possible to solve. If the young man is the series’ most complete embodiment of the element of opacity in reality, its resistance to interpretation, Dekalog: Four, with its uncertainty over just what Anka may or may not have done with the letter around which it revolves, may be its fullest enactment. Kieślowski’s account of the young man’s genesis has the studio’s literary director, Witek Zalewski, worrying that the initial scripts were missing something—an absence remedied, paradoxically, by rendering it palpable, through this figure. He is the placeholder for an unknown, the reality to which fiction can respond by depositing speculation around it, as the sand grain provokes the oyster to deposit the pearl that obscures it. The result can be a form of the ambiguity prized by the great French film theorist and critic André Bazin, for whom photography disclosed “the natural image of a world that we neither know nor can know” and was “an hallucination that is also a fact.” Is the young man mourning Paweł at the series’ start, or simply brushing smoke from his eyes? His direct look at the camera, like that of an enigmatically silent documentary interviewee, drives a wedge into our own, spectatorial world, opening it up to realities visible, at most, through a glass darkly. The series’ erasure of such contemporary Polish realia as politics, breadlines, and ration cards resulted in criticism on its domestic broadcast as being removed from life, though that partial removal was recognized elsewhere as a form of universalization, giving Kieślowski’s work new accessibility and breadth of applicability. But although quite a few Poles, or at least Polish critics, may have viewed it as not really documenting anything, Dekalog in fact extends his earlier documentary project in multiple ways, as description feeds into speculation. This goes beyond the retention of typical documentary modes of shooting and framing, such as the following of characters pointed out by filmmaker and academic Charles Eidsvik. More important is Kieślowski’s desire to register the nontransparent, the reality that his film school thesis, on documentary, had described as having its own dramaturgy. Exploring the nuances of Poland's society and culture, Dekalog: One offers a narrative that is both engaging and thought-provoking. Whether you're a native speaker looking to revisit the classics of your homeland or a student of the language and culture seeking a deeper understanding, this film presents an opportunity to do so through the compelling medium of cinema.Or look at the moral switch in “Decalogue Six,” which is about a lonely teenage boy who uses a telescope to spy on the sex life of a morally careless, lonely woman who lives across the way. He decides he loves her. They see each other because he is a clerk in the post office. He takes a morning milk route so he can see her then, too. Almost inevitably, she finds out he is a peeping tom (and also an anonymous phone caller, and a prankster), but we can hardly guess what she does then. Lithuania is on Vauxhaul Bridge Road. Not counting my warm-up jog I’ve already covered 10km but I’ve not even covered half the embassies. The road is the busiest yet and the pollution is getting to me. I jog past Harrods. Influencers pose for identikit photos all along the street. I’m guilty too, I think to myself: I’ve been taking poorly framed selfies in front of flags all morning. Dekalog: One" stands as a testament to the transformative power of cinema, exploring themes rarely touched upon with such delicacy and depth. It has been celebrated at various film festivals, marking its place in the pantheon of cinematic masterpieces, and becoming a beacon for filmmakers and enthusiasts drawn to the essence of Eastern European cinema. Conclusion Carr, Jay (2002). The A List: The National Society of Film Critics' 100 Essential Films. Da Capo Press. p. 81. ISBN 978-0-306-81096-1 . Retrieved 27 July 2012.

Over the morning I ran just over 30 KM, 20 of which were between the embassies. My Apple Watch reports that I’ve completed my move ring 720%. I wonder if I needn’t move for the rest of the week. The fact that Piketty is French doesn’t particularly matter to most articles that introduce him this way: granted some of his work focused on the French economy and most of his books and articles were published in French before English translations, but this rarely affects the context. The Village Voice ranked The Decalogue at No. 112 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics. [23] In January 2002, the film was listed among the Top 100 "Essential Films" of all time by the National Society of Film Critics. [24] The film ranked #36 in Empire magazine's "The 100 Best Films of World Cinema" in 2010. [25]

Propaganda department” is no exaggeration here: the Ministry of Information’s building inspired George Orwell’s description of the Ministry of Truth in Nineteen Eighty-Four. ↩︎ Alternatively, we may have the goal of saving more money. Many banking apps now offer a feature that will “round up” transactions to the nearest pound or dollar, placing the remainder in a savings account. The initial set-up effort takes seconds, and the probability of success given implementation is certain. You’ll save a modest amount of money, but it’s certainly better than nothing. Mayfair and Marylebone are built on a grid around squares created by wealthy landowners in the Georgian era. Navigation is easy and it takes me no effort to find Italy in Grovesnor Square. I often jog around this corner of the West End. Malta and Cyprus aren’t far. I jog around St James’s Park to Slovenia. In the 2012 polls Dekalog received six votes from critics including Kenneth Turan and one vote from director Milcho Manchevski as the Greatest Film of All Time. [22] I start the day early. The streets in St John’s Wood are empty — it’s a bank holiday in the UK — and Regent’s Park is too. Here I notice the first problem of the day. Although the sky is grey and unthreatening, the wind is my concern. It’s stripping the trees of their blossom. Pollen is soon in my face and catching on my clothes. I took an antihistamine before I set off; I hope it’ll be enough to see me through.