Dekalog, piec
- Episode aired Jun 1, 1990
- TV-MA
- 59m
IMDb RATING
8.5/10
4.9K
YOUR RATING
A soon-to-be lawyer crosses his path with a taxi driver and a young sinister man.A soon-to-be lawyer crosses his path with a taxi driver and a young sinister man.A soon-to-be lawyer crosses his path with a taxi driver and a young sinister man.
Barbara Dziekan
- Cashier
- (as B. Dziekan-Vajda)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThis episode extended and released as the feature length movie "A Short Film About Killing" (1988).
- ConnectionsEdited from A Short Film About Killing (1988)
Featured review
The Worst of the Series
Yes, yes, I know. This has been celebrated to the heavens.
And it is very, very fine film-making. The management of detachment in the film and of engagement with us is fine. The "message" is appealing. The use of the labor-intensive green filters is amazingly effective.
By any measure, this is an excellent film.
But keep in mind this is Kieslowski, and this man makes films that are glass splinters disguised as teardrops. He dances in the shadows while distracting us elsewhere. But he didn't here.
You have to look at his projects as collaborations. His writing partner was the one who would shape the knot, create the situation and the internal tension. Then Kieslowski would add the cinematic vision and whatever story elements he felt would make things ambiguous and folded so as to hypnotize us.
When the partner dominates, we get a straight ahead story like this. When our man does, we get something ambiguous and rich and slippery like the ones before and after this. They exist in an artificial world where the artist goes in every day for a year and paints something different, but because he whistles the same tune every day it has a coherence of sorts,
But this was the first of the collaborative scripts, as his partner was a lawyer that went through something like this. So his unsophisticated vision dominates. The only Kieslowski folded touch is when the murderer goes to a movie box office and asks about the film. He is told it is about love and boring. (The next in the series is about love and is the most sublime and undefined of the ten.)
This is good film-making, but is crass in comparison. The extended version (prepared for Cannes) has more Kieslowski in it, most notably in how it starts, but not nearly as much as in the other projects.
If you are looking for a life companion, show them the two films (short films about love and killing) and see which they prefer. That'll tell you everything you need to know.
Ted's Evaluation -- 3 of 3: Worth watching.
And it is very, very fine film-making. The management of detachment in the film and of engagement with us is fine. The "message" is appealing. The use of the labor-intensive green filters is amazingly effective.
By any measure, this is an excellent film.
But keep in mind this is Kieslowski, and this man makes films that are glass splinters disguised as teardrops. He dances in the shadows while distracting us elsewhere. But he didn't here.
You have to look at his projects as collaborations. His writing partner was the one who would shape the knot, create the situation and the internal tension. Then Kieslowski would add the cinematic vision and whatever story elements he felt would make things ambiguous and folded so as to hypnotize us.
When the partner dominates, we get a straight ahead story like this. When our man does, we get something ambiguous and rich and slippery like the ones before and after this. They exist in an artificial world where the artist goes in every day for a year and paints something different, but because he whistles the same tune every day it has a coherence of sorts,
But this was the first of the collaborative scripts, as his partner was a lawyer that went through something like this. So his unsophisticated vision dominates. The only Kieslowski folded touch is when the murderer goes to a movie box office and asks about the film. He is told it is about love and boring. (The next in the series is about love and is the most sublime and undefined of the ten.)
This is good film-making, but is crass in comparison. The extended version (prepared for Cannes) has more Kieslowski in it, most notably in how it starts, but not nearly as much as in the other projects.
If you are looking for a life companion, show them the two films (short films about love and killing) and see which they prefer. That'll tell you everything you need to know.
Ted's Evaluation -- 3 of 3: Worth watching.
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