By Steven Woodward
Polish filmmaker Krzysztof Kieslowski died without notice in March 1996 at exactly the second he had reached the peak of his profession and received a world viewers for his paintings with the 3 shades trilogy (1993-94). seeing that his loss of life he has been hailed as one of many maximum and such a lot influential administrators of all time, increased to the elite of global cinema along Jean Renoir, Robert Bresson, Federico Fellini, Yasujiro Ozu, Max Ophüls, and Andrei Tarkovsky. In After Kieslowski, top individuals diverge from the common research of Kieslowski's paintings to target his legacy in movies made after his demise, together with these in keeping with his scripts and ideas and people made completely by means of different filmmakers.
Kieslowski's wealthy legacy is rooted in not just a truly major physique of early paintings made earlier than his step forward movies yet one other trilogy of flicks that he were engaged on sooner than his loss of life, numerous of that have long gone directly to be produced. in addition, actors and assistant administrators concerned with Kieslowski additionally made movies that enhance his prior, incomplete tasks or that derive thematically and stylistically from his paintings. After Kieslowski considers Kieslowski's legacy from 3 large perspectives-the Polish, the ecu, and the worldwide. individuals hint his direct impact on filmmakers in Poland and Europe, together with Jerzy Stuhr, Krzysztof Zanussi, Emmanel Finkiel, Julie Bertucelli, and Tom Tykwer, in addition to issues of thematic twist of fate among his paintings and that of Jean-Luc Godard, P. T. Anderson, David Lynch, Michael Haneke, Abbas Kiarostami, and Paul Haggis. This assortment additionally strains the reemergence of Kieslowski's particular visible signature in motion pictures by way of Ridley Scott, Santosh Sivan, John Sayles, and Julian Schnabel, and his hugely unique use of tv serial-narrative shape that's echoed in no less than significant American tv sequence, HBO's Six ft below and ABC's misplaced.
interpreting Kieslowski's legacy is a manner of pondering either concerning the specific positive factors of Kieslowski's paintings and approximately matters which are now on the middle of up to date filmmaking. movie students and scholars will get pleasure from this groundbreaking volume.
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Extra resources for After Kieślowski: The Legacy of Krzysztof Kieślowski
They were also troubled by the fact that he achieved international fame atypically for a Polish filmmaker— without referring to Polish history and mythology. As I have noted elsewhere (Haltof 125), the semantic richness of Kieślowski’s Three Colors trilogy was not taken by all Polish scholars and critics as a sign of art. Although, by and large, they praised the visual aspect of the trilogy, they also pointed out its alleged emptiness, superficiality, and pop metaphysics (“metaphysics for the poor”).
Indd 31 1/16/09 10:34:03 AM ma r e k ha l t o f post-communist Polish cinema. The overall tone of the critical discussions in Poland, despite the infrequent dissenting voices questioning Kieślowski’s legacy, shows the longing for a filmmaker who will fill the empty space left by the director. Notes 1. ” Another phrase often used by Kieślowski—“I’m so-so”—provided the title for the 1995 Danish-Polish television film on him, directed by Krzysztof Wierzbicki (I’m So-So). Other recent Polish films about Kieślowski include Krzysiek Kieślowski (2001, TV, 26 minutes), produced by Wojciech Malinowski, and Kieślowski i jego Amator (1999, TV, 25 minutes), produced by Krzysztof Wierzbicki.
Meanwhile, Szymon surrounds himself with a collection of Mimi’s family photographs, as well as her mother’s diary, which he took from the site of the accident (like the young boy from Three Colors: Blue who took the cross from the scene of the car crash). He is also collecting a dossier on Mimi, and he meddles in her private life. This is Szymon’s way of paying the debt for his deed from childhood. Is Szymon’s character really a patient and understanding angel, a sinner trying to save his and his “victim’s” soul, or is he perhaps a stalker infatuated with Mimi?
After Kieślowski: The Legacy of Krzysztof Kieślowski by Steven Woodward