By Steven Woodward
Polish filmmaker Krzysztof Kieslowski died by surprise in March 1996 at exactly the second he had reached the peak of his occupation and won an international viewers for his paintings with the 3 colours trilogy (1993-94). due to the fact 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 worldwide cinema along Jean Renoir, Robert Bresson, Federico Fellini, Yasujiro Ozu, Max Ophüls, and Andrei Tarkovsky. In After Kieslowski, top participants diverge from the common research of Kieslowski's paintings to target his legacy in motion pictures made after his dying, together with these in line with his scripts and concepts and people made totally 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 leap forward motion pictures yet one other trilogy of movies that he have been engaged on sooner than his dying, numerous of that have long gone directly to be produced. in addition, actors and assistant administrators concerned with Kieslowski additionally made motion pictures that increase his previous, incomplete initiatives or that derive thematically and stylistically from his paintings. After Kieslowski considers Kieslowski's legacy from 3 huge perspectives-the Polish, the eu, and the worldwide. participants hint his direct effect 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 accident among his paintings and that of Jean-Luc Godard, P. T. Anderson, David Lynch, Michael Haneke, Abbas Kiarostami, and Paul Haggis. This assortment additionally lines the reemergence of Kieslowski's detailed visible signature in movies 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 not less than significant American tv sequence, HBO's Six ft lower than and ABC's misplaced.
reading Kieslowski's legacy is a fashion of considering either concerning the distinct positive aspects of Kieslowski's paintings and approximately matters which are now on the middle of up to date filmmaking. movie students and scholars will delight in this groundbreaking volume.
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Additional resources for After Kieślowski: The Legacy of Krzysztof Kieślowski
The first two parts of this new trilogy, initially written for the Italian television channel RAI, were published in Dialog (Piesiewicz “Nadzieja” and “Wiara”). Stanisław Mucha (b. 1970), a Polish actor and director who has resided in Germany since 1995, directed the trilogy’s first part, Faith, which was shown at the 2007 annual Festival of Polish Films in Gdynia. The careful reader of Polish film journals and Internet sites will note that Piesiewicz’s continuation of his screenwriting career after Kieślowski’s death comes as a surprise to some Polish critics, who, perhaps, expected to close that chapter of Polish cinema.
Indd 28 1/16/09 10:34:02 AM KieŚlowski’s Influence on Post-Communist Polish Cinema through filmmaking. The film deals with the marital crisis of a couple who have just returned to Poland following an unsuccessful attempt to settle permanently in Canada, and who struggle with everyday problems, such as the inability to find employment, lack of money, and, as a consequence, homelessness (they stay with Magda’s mother). Unlike Filip in Camera Buff, who ultimately turns the camera on himself, thus retreating from socially committed observations, Magda in My Roast Chicken overcomes her difficulties by observing external reality—she begins making a documentary film about her husband, Wojtek (Adam Nawojczyk).
Krzysztof Wierzbicki, Kieślowski’s close collaborator and friend, known chiefly for his definitive television documentary I’m So-So, continued Kieślowski’s classic documentary First Love (Pierwsza miłość, 1974) in Horoscope (Horoskop, 2000), a forty-seven minute film made for Channel 2 of Polish Television. The film by Kieślowski documents nine crucial months in the life of two young Warsaw inhabitants—the seventeenyear old Jadźka and her boyfriend, the twenty-year old Romek—as they work and complete high school.