"All my films, from first to the most recent, are about individuals who can not find an absolute sense to their actions, they do not know at all how to live, they do not know really where is the good and evil, who are desperately seeking. Seeking answers to such basic questions as why is this?, Why get up in the morning?, What bedtime?, What getting up again? "
" I like games casual, life is full of them. At this point, in this cafe we sit next to strangers. Everybody get up, go away, and follow its path. And so, never will meet again. And if they do not realize that is not the first time. "
Krzysztof Kieslowski, in" Kieslowski on Kieslowski, ed.Faber and Faber, London, 1993
S ext and last cycle of the season IV of The Cinematheque de Sant Joan d'Alacant 2010-2011 entirely devoted to the figure of Polish filmmaker Krzysztof Kieslowski , and particularly the last stage of his films co-produced in France between 1991 and 1994 .
Krzysztof Kieslowski (Warsaw, June 27, 1941 - Warsaw, March 13, 1996), he joined the acclaimed Lodz Film School in 1964 . The same school that trained other great filmmakers like Polish Roman Polanski, Andrzej Munk, Krzysztof Zanussi or own Andrzej Wajda. Rarely, a film school can be considered the birthplace of many legendary film professionals, with three Oscar-winning students. Kieslowski entered at a time relatively free art under Communist Poland, which joined the veterans were found in the middle of the movement called "Cinema of moral anxiety" , which Kieslowski himself contributed significantly to reflect on the historical-political moment Poland, until the late 80's.
With its initial work in numerous works as a documentary short about individuals and particular groups of Polish society under the Communist regime, as in The Office (Urząd 1966), Factory (Fabryka 1970), The Hospital (Szpital 1976), From the point of view of a night guard (Z punktu widzenia nocnego Porter, 1977) or Station (Dworzec 1980), among many others. Kieslowski
reflected the daily lives of all Polish citizens, workers and soldiers. His first feature films followed the same trend, but gradually began to express his disappointment as a mere observer documentary, especially at the end of Amateur (Amator, 1979), or less pragmatic vision of reality, with the beginning in using of supernatural symbolism as El Azar (Przypadek, 1981) , or Without End (Bez konce, 1984) .
However, the increasingly powerful moral charge culminated in the composition of the Decalogue (Dekalog, 1988), a colossal work, consisting of 10 films from about 55 minutes average duration, from the Ten Commandments, made for Polish television in 1988. The Decalogue was a majestic work and a critical success that finally recognized the name of Krzysztof Kieslowski, and opened the doors of internationality in a historic moment in the wake of the fall of communism. After
Decalogue, Kieslowski terminated fully Polish stage and even political unrest, and focuses on the performance of his first foreign co The Double Life of Veronique (La Double Vie de Véronique, 1991), in France, and two years later with the stunning trilogy Three Colors (Trois Couleurs, 1993-1994), based on the principles of French flag, Freedom, Equality and Fraternity, which ultimately would be the last stage of the Polish director, differentiated in their introversion and poetic, but yet another step, and a personal challenge as a great filmmaker who was, Krzysztof Kieslowski.
Just two months after the premiere 20 years The Double Life of Veronica the 1991 Cannes Film Festival, the real point de inflexión en el reconocimiento a nivel internacional sobre la figura de Kieslowski, La Filmoteca revisita sus cuatro últimas obras , que finalmente significaron su último legado fílmico, antes de su repentina desaparición el 13 de Marzo de 1996, con tan sólo 54 años de edad.
Krzysztof Kieslowski, one of the distinguished students of the Lodz Film School.
past, and he finished his trilogy Three Colors (Trois Couleurs) with Blue (Bleu, 1993), White (Blanc, 1994), and Red (Rouge, 1994 ) the filmmaker had warned of its withdrawal from the film. His untimely death gave Kieslowski trilogy tone and probate, mythical, almost prophetic. However, at the time of his death, Kieslowski was working on the script of a new trilogy based neither more nor less than "The Divine Comedy of Dante , with three episodes on Heaven, Purgatory and Hell . The scripts on Heaven and Hell , later brought to the screen would be unwise, by Tom Tykwer and Danis Tanovic, respectively.
Even today 15 years after his death, the figure of the great Polish filmmaker is still alive between admiration and training of thousands of viewers, critics and young filmmakers from around the world looking at the Polish film director and his film the mysterious key his sublime evocation of beauty, chance, fate, justice or civil liability or political with the film as a partner, open multiple possibilities and responses.
All this combined with a spiritual, almost transcendental in each of the films shown in this cycle, with multiple connections implicit and even explicit in several of the stories portrayed in The Double Life of Veronica and Three Colors, from the narrative parallels with the curious cameos of the characters in the Three Colours trilogy to the side with no apparent sense The Double Life of Veronica. Kieslowski opened the door to the viewer's imagination with their questions without a single response, postmodern style on non-linear narrative, and his message liminal, on the edge of the subliminal in some cases.
With its mesmerizing aesthetic sense and a sense of responsibility momentous film, Kieslowski was perhaps the last great lover of the film medium of the twentieth century, and perhaps also the latest in a series of filmmakers from a pure existentialism, who manipulated the medium to its greatest exponent to capture the intangible as Dreyer, Bergman or Tarkovsky, among many others. For Kieslowski, through the representation of causality and responsibility in each of the acts of its protagonists and predestination.
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| Krzysztof Kieslowski on the set of his latest film, "Red (Rouge, 1994)," attending actors Jean-Louis Trintignant and Irene Jacob |
The idea of \u200b\u200ba monograph on Krzysztof Kieslowski came suddenly and without warning, perhaps with the record, or just an excuse, of the 20 years since the beginning of his French co-production stage, or perhaps time, as the germ of an initial idea of \u200b\u200btribute to great filmmakers have emerged from the Polish School in Łódź. Even perhaps a fitting tribute to a European cinema of the 90's, with their hopes and fears historical, fraternal rapprochement between nations historically separated politically also reflected in the cinema of the early 90's. Perhaps because of its superb photography, its light, its color, for their exceptional soundtracks, inseparable work of his regular composer Zbigniew Preisner.
should be also, because of his shyness, for his audacity, for a well-deserved recognition of a unique and incomparable author, quite undervalued in our country, which suggests renaming the Film Library the last stage of the Polish filmmaker co-produced four masterpieces in France and French heritage formally as a symbol of the best European film.
Krzysztof Kieslowski, the director of the intimate and domestic, cross interference and human fate, the parallels and second chances, sums up everything that happened this season, since the rebellion of the first cycle to tribute to the author only in the last cycle of February. Looking back, what happened seems to have a sense predestined, given cycles and movies, more crosses than initially imagined. Kieslowski Who better than to finish a season with so many parallels.
do not know exactly why now, not before or after played Kieslowski. As one of his movies, we just felt that it should be, and I'm sure that will not disappoint anyone.
The last prophet of the cinema of the past century, coincidentally or not, the director chose to end the season fourth in the Film under the same premise and principles which began in October last year, a revelation, a symbol of light in time and space, lightning, whose brief but intense image, was captured forever in the eternal retina of the History of Cinema.
CYCLE "The French Cinema of Krzysztof Kieslowski"
Day March 7, "The Double Life of Veronique (La Double Vie de Véronique) by Krzysztof Kieslowski, 1991
A look through a translucent mirror golden color to the universe particular two kindred spirits from the myth of the double, the alter ego of "Doppelgänger." Kieslowski made a film about feelings indescribable by words, such as premonitory feelings, and sensations are difficult to reproduce on screen. Any emotional work of art, who at 20 years still retaining all its original mysticism. From the peculiar aesthetics inherited from his previous work for Polish television, acclaimed Decalogue, and free of moral claims, Kieslowski made his most intimate and risky, for the first time on foreign coproduction, France. The Double Life of Veronica meant the final dive of Kieslowski on the Olympus of the filmmakers of the symbolism and the sensible, of stories and encounters a priori unrelated, relying on the irrational, the mystical or faith. Kieslowski is imposed due to its beautiful photography and a soundtrack sublime. A film worthy of continued study, by its beauty and daring speech, full of tenderness and mystical connections of cause and effect, where chance does not seem to be a really random, but a reality ruled by incomprehensible rules.
The Double Life of Veronica won the Jury Prize and the FIPRESCI award for best actress Irène Jacob in the 1991 Cannes Film Festival.
Day March 14, "Three Colors: Blue (Trois Couleurs: Bleu)" by Krzysztof Kieslowski, 1993
first film of the acclaimed Three Colours trilogy of Kieslowski, based on the principle of freedom of the French flag. With Juliette Binoche in the lead role, Blue film is a dark and hopeful at the same time, where Kieslowski freely portrays his idea of \u200b\u200bfreedom, together with the tone of the rest of the trilogy with the usual issues such as justice and accountability, with particular microcosm of parallel connections and karmic relationships. Blue evokes the pain of loss, grief and moral responsibility of the personal identity condition. An existentialist film character seems very ambiguously address the idea of \u200b\u200bfreedom, with a protagonist who has just lost her husband, a famous composer and his daughter in a fatal traffic accident. Blue is a film about the evocative power of music, the real engine responsible and narrative of the film, with some of the most extraordinary scenes ever made about music personified on film. Julie (Juliette Binoche) in a spectacular use of color and music, is torn between grief and new life, evoked by the symbolic "Symphony for the unification of Europe" , an unfinished work by her husband, whose End symbolize the idea of \u200b\u200bfreedom for millions of people. With an extraordinary soundtrack composed by Zbigniew Preisner and a wonderful use of color, Blue is one of the best European films of the 90's.
Day March 21, "Three Colors: White (Trois Couleurs: Blanc)" by Krzysztof Kieslowski, 1994
White
With the second film in the trilogy Three Colours , Kieslowski is away from the transcendental themes portraying coming from the Decalogue to approach back to the politico-social situation in the key of light but poignant comedy with a tone too ambiguous, and even challenging the idea of \u200b\u200bequality in Western countries . It is the Polish film more prominence throughout the trilogy, with a leading Polish emigre to France Karol, a great Zbigniew Zamachowski relegated to exile after the divorce from his wife, Dominique, played by Julie Delpy. After that, Kieslowski shows a range of ironic situations almost Kafkaesque character through the Karol, while constantly portrayed in a tone of complaint fraternal inequalities between nations, the complex inputs and outputs of forced migrant-immigrant while betrays savage capitalism that came over from the homeland of Karol romantic, after the fall of the Iron Curtain. White is a different film, a film bridge Blue and Red , but sharing the same look into the possibility and chance. A curiously romantic film, and poignantly realistic, portraying a new Europe where the power was beginning to have its own name on the money, and where nothing seemed impossible. With several surprising turns of narrative, an almost always reserved and introverted Kieslowski shown with White , its most ironic and subtle sense of humor, a facet of the great Polish filmmaker.
Day March 28, "Three Colors: Red (Trois Couleurs: Rouge)" by Krzysztof Kieslowski, 1994
With the completion of the Three Colours trilogy and the announced withdrawal of the film director, Red tone seemed to take probate. And it was much more after the unexpected demise of Kieslowski on March 13, 1996. In Red , returned to work with Kieslowski Irène Jacob, in the role of student and model Valentine, and one of the best French actors, Jean-Louis Trintignant in the role of tormented retired judge, Joseph Kern. This time the action takes place in Geneva, as an intermediate point to represent the third idea based on the flag of the French Revolution, fraternity. And again, Kieslowski get defragment the idealism of the Fraternity through the experience, strengths and weaknesses, a retired judge, who senses the young and beautiful Valentine certain links with the past. In Red, Kieslowski once again demonstrates his talent for connecting characters in time and space, giving free rein to causation and predestination, as usual in all his movies. Red is a summary of all the musings of Kieslowski, it seemed to sense his last work, so all the connections between his films. And he did so sublime, spectacular. Again the figure of alter ego, this time as representing a second chance, and chance are the absolute protagonists, while slightly takes all the themes protagonist of the earlier films in the trilogy, such as loneliness, pain, love and justice. Red is a film about the idea of \u200b\u200bfraternal responsibility with a hopeful look, which, however, depicts a current reality lasts about its practical use in society. Red end as the previous two films, with the idea of \u200b\u200blove as the Savior and Redeemer, with a final scene that represents the idea of \u200b\u200ba second chance for all players in the trilogy, in a destination so irrational as powerful.
All screenings will be as usual in the Auditorium of the Casa de Cultura Sant Joan D'Alacant (Alicante) at 20:00 pm with free admission VOS Before the screening program will offer a hand with opinions and criticism of the organizers and a short introductory talk by the same .
hope you like it.
Dedicated to chance encounters and second chances ...
Javier Ballesteros
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