Dreams was the first film written solely by Kurosawa and constitutes a recounting of the director’s memories, nightmares, dreams and fears, told through a cinematic lens. Kieślowski repeated the idea of a series themed around united values with the Three Colours trilogy. The films are based on the French revolutionary values of liberty, equality, and fraternity; their titles take are named for the French tricolore. Three Colours is a better series, and refines Dekalog’s ideas — there’s plenty of repetition of themes, actors, and music between the two. Three Colours: Red, the conclusion of the trilogy, is Kieślowski’s best work. This has remained the status quo for several years. I’ve made no major changes to any of my apps since I was a teenager and they don’t run well on any modern version of iOS. 3 As such, I’ve therefore removed all my apps from the App Store.

The legacy of Eastern European cinema is vividly brought to life here, with films that resonate with universal themes and emotions, transcending geographical and linguistic boundaries. We are committed to presenting films that not only entertain but also educate and inspire our audience. Krzysztof Kieślowski's Acclaimed Films". They Shoot Pictures, Don't They?. Archived from the original on 11 April 2020 . Retrieved 30 December 2016.The ten films are titled simply by number, e.g. Dekalog: One. According to film critic Roger Ebert's introduction to the DVD set, Kieślowski said that the films did not correspond exactly to the commandments, and never used their names himself. [11] Though each film is independent, most of them share the same setting in Warsaw, and some of the characters are acquainted with each other. Each short film explores characters facing one or several moral or ethical dilemmas as they live in a large housing project in 1980s Poland. [3] The themes can be interpreted in many different ways; however, each film has its own literality: [12] Commandment (Roman Catholic Enumeration) Although the current round pens carry a similar refill and write just as well, I’m still a little sentimental for the hexagonal pens. I alternated between fountain pens and these MUJI pens for most of the mathematics I wrote at university: their narrower line width was useful for drawing out intricate symbols next to prose. 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.

Most of my peers’ projects tended to be more theoretical, so I was glad I had the chance to marry a little bit of theory and practice (mostly thanks to Alex Rogers, my supervisor). While the movies are based upon the Ten Commandments, they are not simple morality tales and illustrations. Kieslowski and his co-writer, Krzysztof Piesiewicz, create meditations that connect both intellectually and emotionally with the commandments instead. They explore the commandments' themes with the head and the heart. One great example is the first movie, in which a parent and his child use a computer to predict the freezing rate of a pond. Casting the computer and human knowledge as false Gods is not a new or unique idea, but in Kieslowski's hands, the idea expands and fills not only the mind but the heart. Man, I wish I had the vocabulary to express what moves in me every time I watch any one of these films.

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. Why The Decalogue Still Matters After Twenty Years". HuffPost. 23 June 2008. Archived from the original on 26 December 2021 . Retrieved 26 December 2021. I reach the Latvian Embassy first and immediately deviate from the route I planned (it would’ve been number 3). The idea and the route for this run emerged months ago. I put it off: I knew that jogging to every EU embassy in London would be close to a half marathon. 27 stops, with navigation between them, was going to take its toll too.

Dekalog: One ( Polish: Dekalog, jeden) is the first part of Dekalog, the drama series of films directed by Polish director Krzysztof Kieślowski for television, possibly connected to the first and second imperatives of the Ten Commandments: "I am the Lord your God; you shall have no other gods before me" and "Thou shalt not make unto thee any graven image." They made 10 films, each an hour long, for Polish television. The series ran in the late 1980s, played at Venice and other film festivals, and gathered extraordinary praise. But the form was ungainly for theatrical showing (do you ask audiences to sit for 10 hours, or come for five two-hour sessions?), and “The Decalogue” never had an ordinary U.S. theatrical run, nor was it available here on video. Now, at last, it is being released in North America on tapes and DVD discs. The 100 Greatest Films of All Time". British Film Institute. Archived from the original on 2 September 2012 . Retrieved 21 October 2020.

Voted for

A construction worker holding a measuring pole and then as a different construction worker carrying a ladder Behind the Camera: Poland's Best Cinematographers". Facets. Archived from the original on 25 July 2010 . Retrieved 6 June 2017. Cast: Henryk Baranowski, Wojciech Klata, Maja Komorowska, Artur Barcis, Maria Gladkowska, Ewa Kania Dekalog marked the beginning of Kieślowski’s international success — he and his work had been perceived as too distinctly Polish and insular — and Three Colours benefitted from it as a growing crowd of actors wanted to work with him.