Kieslowski did something essential, important; he invented something delicate in vision. It is a way of placing self so that the world appears to us as abstract but real. But rich, not simple. Textured, in such a way that the textures are in the environment, rather than objects in the environment.This is so obvious a place to be that we forget that it was invented, not discovered. Though almost no one else achieves this balance in art, ever, it has become already something we find naturally in ourselves.The way he achieved this was to divide his creative self, I believe. One part, he kept to himself and used in the ordinary way we do, stumbling into insightful pleasure. The other part he gave to his creative partner and lover and completely bonded the two. In practical terms, his partner created the situations and ordinary narrative shape. Dialogue.Kieslowski was then free to shape the cinematic environment. In an ambitious project, he worked with what we call short form in ten related small films made for TeeVee. These are amazingly rich, experimental, successful. They are where he found and gave us that balance between outside and inside: observation and intimacy, narrative fold that vanishes.But at the same time, he knew they were only sketches of what could be. He needed to take that careful balance into the long form. Now this is a major challenge, because all of a sudden the narrative becomes a spine, not a melody. It becomes the path in the environment. The environment in his carefully conceived balance now has to be dynamic. He did later achieve this in “Three Colors,” one of the most important adventures in cinema.The way he got there was by taking two of the ten decalogue films and making them long form projects. He did not do this â€” as is generally believed â€” by simply adding footage to make a short film longer. He completely reimagined the thing from scratch. It is, in fact wholly different, though all the bits of the small project are in it, they are now part of a flow. Though the thing is longer, there are many more mysteries, more story not exposed but placed in the space alone. There is a hint of multiple observation.There is meaning now, in the car door that mysteriously closes as we see the killer dragging the body to the water.We owe this man, this project, this killer a lot.Ted’s Evaluation — 3 of 3: Worth watching.
A Short Film About Killing (1988) Movie Data
A Short Film About Killing (1988) is Crime Drama Genres film which released in 1988. A Short Film About Killing (1988) supported by Krzysztof Globisz, Jan Tesarz, and Miroslaw Baka. This movie has 1h 24min duration and rating around 8.2 star from 11,985 movie experts. Not bad.
A Short Film About Killing (1988) Short Storyline
The plot couldn’t be simpler or its attack on capital punishment (and the act of killing in general) more direct – a senseless, violent, almost botched murder is followed by a cold, …
Actor Actress behind A Short Film About Killing (1988) Movie
Miroslaw Baka,Krzysztof Globisz,Jan Tesarz
Director: Krzysztof Kieslowski
Writer: Krzysztof Kieslowski
A Short Film About Killing (1988) PLOT STORY
The plot couldn’t be simpler or its attack on capital punishment (and the act of killing in general) more direct – a senseless, violent, almost botched murder is followed by a cold, calculated, flawlessly performed execution (both killings shown in the most graphic detail imaginable), while the murderer’s idealistic young defence lawyer ends up as an unwilling accessory to the judicial murder of his client.
A young man wanders the city with sinister intents. He crosses paths with a taxicab driver. At the same time idealistic lawyer who has just passed the bar exam thinks about his future. He later finds himself assigned to the young man’s case.
A youth randomly, and brutally, murders a taxi-driver. Piotr has just passed his law exams and been admitted to the bar. He is to defend Jacek, the young murderer. There is no evidence for the defence and no apparent motive. Jacek is put on trial, found guilty and executed by hanging. Piotr, after his first case, is leftwith the bitter doubt – does the legal system, in the name of the people, have the right to kill with cold blood?
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