Krzysztof Kieślowski

Based on the wonderful anthology scene at the train station, Polish director Krzysztof Kieslowski explores the mechanisms of fate and chance in one of his greatest cinematic moments. — A young medical student who has temporarily stopped his studies, runs to catch the train. Three different versions of this effort will lead to three different outcomes of his life.

In the first of two episodes of the legendary TV Decalogue that became feature films, director Krzysztof Kieslowski launches a blistering cinematic diatribe against the death penalty. — Jacek is a 20-year-old who finds no meaning in life. He wanders the city with the thought of killing someone. Marian, a grumpy middle-aged taxi driver, eventually becomes his accidental victim. The young man asks the taxi driver to take him to an isolated location, where he eventually murders the driver in cold blood. — Official Selection | Cannes Film Festival | 1988 FIPRESCI Prize | Cannes Film Festival | 1988 Jury Prize | Cannes Film Festival | 1988

Taken out of Poland's turbulent political scene in the 70's, Kieslowski's first feature-length fiction film reveals the director’s preoccupation with documentaries by capturing a kaleidoscopic reality. — A man takes over the management of a chemical factory in a deprived area of Poland and is confronted with the partisan and local interests of the actors in the area, but also with the traumas of his own past there.

In the second part of the emblematic trilogy of Colors, Krzysztof, being more light-hearted and satirical than ever, revels in the notion of love based on equality and in a double geared Europe, without forgetting the lyricism of his unique cinematography. — A Polish hairdresser, divorced from his French wife, wanders homeless in the streets of the French capital until he meets a mysterious fellow countryman that will convince him to return to Poland in order to win the love of his life back. — Official Selection | Berlin International Film Festival | 1994 Best Director | Berlin International Film Festival | 1994

The film that was destined to be the culmination of Kieslowski's worldview, as well as his swan song, is a hymn to friendship and to anything that inexplicably and almost magically can unite lives and destinies. — A photo model in Zurich meets a lonely retired judge who spends his hours eavesdropping on his neighbors' phone calls in the last of the 3 films in Krzysztof Kieslowski's Color Trilogy. — Nominated for Best Director | Oscars | 1995 Nominated for Best Original Screenplay | Oscars | 1995 Nominated for Best Cinematography | Oscars | 1995 Official Selection | Cannes Film Festival | 1994

In his most abstract, poetic and mystifying film, Krzysztof Kieslowski creates a masterful riddle-poem and a grand audio-visual composition about art, fate and the duality of existence. — Two women with the same name, face and characteristics live thousands of miles away from each other. Sharing the same passion for music and the same serious health condition, their lives are connected in an unexpected and metaphysical way. — Best Actress (Irène Jacob) | Cannes Film Festival | 1991 FIPRESCI Prize | Cannes Film Festival | 1991 Prize of the Ecumenical Jury | Cannes Film Festival | 1991

Being preoccupied with art is a form of personal and political awakening, but also an act of resistance to an oppressive environment in Kieslowski’s film, with which he gave the first morsels of his later poetic cinema. — A man buys an 8mm camera to film his child's early years and family life. But he slowly becomes addicted to the new device, which fascinates him and progressively absorbs all of his attention. — Interfilm Award | Berlin Film Festival | 1980 Best Film | Moscow International Film Festival | 1979 Best Film | Chicago International Film Festival | 1980

In the second of the two episodes of the legendary TV Decalogue that became feature films, Krzysztof Kieslowski, composes a beautiful ode about reaching maturity and the notion of incomplete love. — A 19-year-old postman feels that his life is gaining meaning when he starts watching the apartment of a beautiful neighbor with his telescope, but never dares to confess his love to her. — OCIC Award | San Sebastián Film Festival | 1988 Special Prize of the Jury | San Sebastián Film Festival | 1988 Audience Award | São Paulo International Film Festival | 1989

In his first collaboration with screenwriter Piesiewicz and composer Zbigniew Preisner, Kieslowski unfolds for the first time the themes that were destined to define his later work: loss, death and the endless search for meaning in the limitless improbabilities of life. — A dead lawyer watches from the afterlife the lives of his wife and son, but also the course of a political prisoner's case, which has been taken over by a more pragmatic colleague.

The first part of the Trilogy of Colors is dedicated to freedom, dipped in a blue metaphysical light that bathes the face of Juliette Binoche. Structured as a redeeming and liberating path from mourning and introversion to creation and self-realization. — After the death of her husband and child in a car accident, Julie (Juliette Binoche) struggles trying to overcome the initial shock and decides to claim her freedom and start a new life. — Golden Lion | Venice Film Festival | 1993 Golden Osella | Venice Film Festival | 1993 OCIC Award | Venice Film Festival | 1993