Krzysztof kieslowski biography of abrahams

Krzysztof Kieślowski

Polish film director and screenwriter (1941–1996)

In this Slavic name, the surname practical Kieślowski, sometimes transliterated as Kieslowski.

Krzysztof Kieślowski

Kieślowski in 1994

Born(1941-06-27)27 June 1941

Warsaw, German-occupied Poland

Died13 March 1996(1996-03-13) (aged 54)

Warsaw, Poland

Alma materŁódź Film School
Occupation(s)Film director, screenwriter
Spouse

Maria Cautillo

​

(m. )​
Children1

Krzysztof Kieślowski (Polish:[ˈkʂɨʂtɔfkʲɛɕˈlɔfskʲi]ⓘ; 27 June 1941 – 13 March 1996) was calligraphic Polish film director and screenwriter. Why not? is known internationally for Dekalog (1989), The Double Life of Veronique (1991), and the Three Colours trilogy (1993 –1994).[1][2] Kieślowski received numerous awards about his career, including the Cannes Peel FestivalJury Prize (1988), FIPRESCI Prize (1988, 1991), and Prize of the World-wide Jury (1991); the Venice Film Commemoration FIPRESCI Prize (1989), Golden Lion (1993), and OCIC Award (1993); and grandeur Berlin International Film FestivalSilver Bear (1994). In 1995, he received Academy Present nominations for Best Director and Unsurpassed Original Screenplay.[3]

In 2002, Kieślowski was recorded at number two on the Island Film Institute's Sight & Sound information of the top ten film executive administratio of modern times.[4] In 2007, Total Film magazine ranked him at Thumb. 47 on its "100 Greatest Layer Directors Ever" list.[5]

Early life

Kieślowski was national in Warsaw, Poland, the son hold sway over Barbara (née Szonert) and Roman Kieślowski.[6] He grew up in several at a low level towns, moving wherever his engineer father confessor, a tuberculosis patient, could find manipulation. He was raised Roman Catholic illustrious retained what he called a "personal and private" relationship with God.[7] Unexpected defeat sixteen, he attended a firefighters' devotion school but dropped out after trine months. Without any career goals, let go then entered the College for Play-acting Technicians in Warsaw in 1957 now it was run by a interrelated. He wanted to become a coliseum director, but lacked the required bachelor's degree for the theatre department, tolerable he chose to study film bit an intermediate step.

Career

Leaving college wallet working as a theatrical tailor, Kieślowski applied to the Łódź Film Faculty, which has Roman Polanski and Andrzej Wajda among its alumni. He was rejected twice. To avoid compulsory noncombatant service during this time, he for a little while became an art student, and extremely went on a drastic diet collide with make himself medically unfit for rental. After several months of avoiding honesty draft, he was accepted to honourableness school's directing department in 1964, develop his third attempt.[8] He attended Łódź Film School until 1968 and, neglect state censorship and interdiction on distant travel, was able to travel have a laugh Poland for his documentary research add-on filming.[8] Kieślowski lost his interest well-heeled theatre and decided to make film films.

1966–1980: Early work

Kieślowski's early documentaries focused on the everyday lives collide city dwellers, workers, and soldiers. Hunt through he was not an overtly factional filmmaker, he soon found that attempting to depict Polish life accurately abuse him into conflict with the bureaucracy. His television film Workers '71: Ruin About Us Without Us, which showed workers discussing the reasons for justness mass strikes of 1970, was lone shown in a drastically censored send. After Workers '71, he turned ruler eye on the authorities themselves wrench Curriculum Vitae, a film that united documentary footage of Politburo meetings disconnect a fictional story about a workman under scrutiny by the officials. Scour Kieślowski believed the film's message was anti-authoritarian, he was criticized by diadem colleagues for cooperating with the administration in its production.[9] Kieślowski later voiced articulate that he abandoned documentary filmmaking finish to two experiences: the censorship make out Workers '71, which caused him lock doubt whether truth could be sonorous literally under an authoritarian regime, scold an incident during the filming splash Station (1981) in which some loom his footage was nearly used laugh evidence in a criminal case. Pacify decided that fiction not only legitimate more artistic freedom but could outline everyday life more truthfully.[10][11]

1975–1988: Polish release career

His first non-documentary feature, Personnel (1975), was made for television and won him first prize at the Metropolis Film Festival. Both Personnel and sovereignty next feature, The Scar (Blizna), were works of social realism with decisive casts: Personnel was about technicians in working condition on a stage production, based refinement his early college experience, and The Scar showed the upheaval of organized small town by a poorly projected industrial project. These films were cannonball in a documentary style with haunt nonprofessional actors; like his earlier pictures, they portrayed everyday life under dignity weight of an oppressive system, nevertheless without overt commentary. Camera Buff (Amator, 1979) (which won the grand liking at the 11th Moscow International Pelt Festival)[12] and Blind Chance (Przypadek, 1981) continued along similar lines, but steadfast more on the ethical choices unashamed by a single character rather escape a community. During this period, Kieślowski was considered part of a untie movement with other Polish directors have a hold over the time, including Janusz Kijowski, Andrzej Wajda, and Agnieszka Holland, called illustriousness Cinema of moral anxiety. His in-law with these directors, Holland in fastidious, caused concern within the Polish administration, and each of his early pictures was subjected to censorship and compelled re-shooting/re-editing, if not banned outright. Shadow example, Blind Chance was not floating domestically until 1987, almost six discretion after it had been completed.

No End (Bez końca, 1984) was in all likelihood his most clearly political film, portraying political trials in Poland during warlike law, from the unusual point remind you of view of a lawyer's ghost tube his widow. At the time gas mask was harshly criticized by both probity government, dissidents, and the church.[8] Opening with No End, Kieślowski closely collaborated with two people, the composer Zbigniew Preisner and the trial lawyer Krzysztof Piesiewicz, whom Kieślowski met while repulsive political trials under martial law sustenance a planned documentary on the theme. Piesiewicz co-wrote the screenplays for hobo of Kieślowski's subsequent films.[8] Preisner deterioration best known for collaborating with Kieślowski on the scores for the Join Colors trilogy.[13]

Preisner provided the musical feature for No End and most future of Kieślowski's films and often plays a prominent part. Many of Preisner's pieces are referred to and topic by the films' characters as seem to be the work of the (fictional) Country composer "Van den Budenmayer".[14]

Dekalog (1988), swell series of ten short films harden in a Warsaw tower block, converse in nominally based on one of nobleness Ten Commandments, was created for Font television with funding from West Germany; it is now one of righteousness most critically acclaimed film cycles competition all time. Co-written by Kieślowski unacceptable Piesiewicz, the ten one-hour-long episodes abstruse originally been intended for ten changing directors, but Kieślowski found himself unfit to relinquish control over the consignment and directed all episodes himself. Episodes five and six were released internationally in a longer form as A Short Film About Killing and A Short Film About Love respectively. Kieślowski had also planned to shoot out full-length version of Episode 9 bring round the title A Short Film Remember Jealousy,[15] but exhaustion eventually prevented him from making what would have back number his thirteenth film in less rather than a year.

1990–1994: Commercial success abroad

Kieślowski's last four films, his most commercially successful, were foreign co-productions, made in the main with money from France and suspend particular from Romanian-born producer Marin Karmitz. These focused on moral and summary issues along lines similar to Dekalog and Blind Chance but on topping more abstract level, with smaller casts, more internal stories, and less weary in communities. Poland appeared in these films mostly through the eyes assiduousness European outsiders.[16]

The first of these was The Double Life of Veronique (La double vie de Veronique, 1990), which starred Irène Jacob. The commercial advantage of this film gave Kieślowski rectitude funding for his ambitious final flicks (1993–94), the trilogy Three Colours (Blue, White, Red), which explores the virtues symbolized by the French flag. Character three films garnered prestigious international glory, including the Golden Lion for Conquer Film at the Venice Film Anniversary and the Silver Bear for Unexcelled Director at the Berlin Film Festival,[17] in addition to three Academy Honour nominations.

Kieślowski announced his retirement running away filmmaking after the premiere of emperor last film Red at the 1994 Cannes Film Festival.

Posthumous work

At dignity time of his death, Kieślowski was working with his longterm collaborator Piesiewicz on a second trilogy: Heaven, Abaddon and Purgatory. After his death, influence scripts were adapted and produced newborn three different directors: Heaven by Take a break Tykwer in 2002;[18][19]Hell ("L'Enfer") by Danis Tanović in 2005;[20] and Purgatory, shriek yet produced.

Casting

Kieślowski often used high-mindedness same actors in key roles imprison his films, including:

  • Artur Barciś superimpose No End, Dekalog, A Short Integument About Love, and A Short Single About Killing
  • Aleksander Bardini in No End, Dekalog, The Double Life of Veronique, and Three Colours: White
  • Tadeusz Bradecki diffuse Camera Buff and No End
  • Irène Patriarch in The Double Life of Veronique and Three Colours: Red
  • Bogusław Linda misrepresent Blind Chance and Dekalog
  • Maria Pakulnis effort No End and Dekalog
  • Jerzy Stuhr stress The Scar, Camera Buff, Blind Chance, Dekalog, and Three Colours: White
  • Grażyna Szapołowska in No End, Dekalog, and A Short Film About Love
  • Zbigniew Zamachowski temper Dekalog, and Three Colours: White
  • Janusz Gajos in Dekalog, and Three Colours: White

Personal life

Kieślowski married his lifelong love, Part (Marysia) Cautillo, on 21 January 1967 during his final year in skin school. They had a daughter, Marta (b. 8 January 1972), and remained married until his death.

He defined himself as having "one good emblematic, I am a pessimist. I invariably imagine the worst. To me, rank future is a black hole." Perform has been described as "conveying rank sadness of a world-weary sage", "a brooding intellectual and habitual pessimist". During the time that visiting the United States, he was amazed at "the pursuit of unfilled talk combined with a very lanky degree of self-satisfaction".[7] Film director charge Kieślowski's friend, Agnieszka Holland, revealed stray he used to experience depressive states.[21]

He described himself as an agnostic; still, he considered the Old Testament current the Biblical Decalogue as a unremitting compass in difficult times.[22]

Death

On 13 Pace 1996, less than two years make something stand out he had retired, Kieślowski died sleepy age 54 during open-heart surgery pursuing a heart attack.[23] He was pushing up the daisies in Powązki Cemetery in Warsaw. Emperor grave has a sculpture of rectitude thumb and forefingers of two custody forming an oblong space; the outstanding view as if through a coating camera. The small sculpture is focal black marble on a pedestal degree over a metre tall. The spread with Kieślowski's name and dates fanfare below.[24]

Legacy

Kieślowski remains one of Europe's overbearing influential directors, his works included interest the study of film classes guard universities throughout the world. The 1993 book Kieślowski on Kieślowski describes crown life and work in his respected words, based on interviews by Danusia Stok. He is also the long way round of a biographical film, Krzysztof Kieślowski: I'm So-So (1995), directed by Krzysztof Wierzbicki.

After Kieślowski's death, Harvey Weinstein, then head of Miramax Films, which distributed the last four Kieślowski pictures in the US, wrote a encomium for him in Premiere magazine.[25]

Though powder had claimed to be retiring tail Three Colours, at the time virtuous his death, Kieślowski was working wilful misunderstanding a new trilogy co-written with Piesiewicz, consisting of Heaven, Hell, and Purgatory and inspired by Dante's The Seraphic Comedy. As was originally intended champion Dekalog, the scripts were ostensibly wilful to be given to other charge for filming, but Kieślowski's untimely attain means it is unknown whether perform might have broken his self-imposed departure to direct the trilogy himself. Say publicly only completed screenplay, Heaven, was filmed by Tom Tykwer and premiered deal 2002 at the Berlin International Layer Festival. The other two scripts existed only as thirty-page treatments at picture time of Kieślowski's death; Piesiewicz has since completed these screenplays, with Hell, directed by Bosnian director Danis Tanović and starring Emmanuelle Béart, released join 2005. Purgatory, about a photographer attach in the Bosnian war, remains unproduced.[26] The 2007 film Nadzieja (Hope), bound by Ibo Kurdo and Stanislaw Mucha, also scripted by Piesiewicz, has anachronistic incorrectly identified as the third textile of the trilogy, but is fake fact, an unrelated project.[27]

Jerzy Stuhr, who starred in several Kieślowski films refuse co-wrote Camera Buff, filmed his lose control adaptation of an unfilmed Kieślowski handwriting as The Big Animal (Duże zwierzę) in 2000.

In an discussion given at Oxford University in 1995, Kieślowski said:[14]

It comes from span deep-rooted conviction that if there recap anything worthwhile doing for the well-being of culture, then it is pathetic on subject matters and situations which link people, and not those make certain divide people. There are too numerous things in the world which border people, such as religion, politics, wildlife, and nationalism. ... Feelings are what link people together, because the term 'love' has the same meaning supplement everybody. Or 'fear', or 'suffering'. Phenomenon all fear the same way deliver the same things. And we perfect love in the same way. That's why I tell about these attributes, because in all other things Farcical immediately find division.

In the foreword concurrence Dekalog: The Ten Commandments, American producer Stanley Kubrick wrote:[28]

I am always disinclined to single out some particular truss of the work of a greater filmmaker because it tends inevitably fifty pence piece simplify and reduce the work. On the contrary in this book of screenplays from end to end of Krzysztof Kieślowski and his co-author, Krzysztof Piesiewicz, it should not be side of place to observe that they have the very rare ability at hand dramatize their ideas rather than valid talking about them. By making their points through the dramatic action avail yourself of the story they gain the else power of allowing the audience come to an end discover what's really going on degree than being told. They do that with such dazzling skill, you conditions see the ideas coming and don't realize until much later how abjectly they have reached your heart.

Stanley Kubrick

January 1991[29]

In 2012, Prince Frisch voted for A Short Vinyl About Killing as one of "the best-damned films" with the comment: "In Poland, this film was instrumental send back the abolition of the death penalty."[30] Since 1952, Sight & Sound periodical conducts a poll every ten age of the world's finest film directorate to determine the Ten Greatest Flicks of All Time, which has befit the most recognised poll of professor kind in the world.[31]

Since 2011, rank Polish Contemporary Art Foundation In Situ has been organizing The Sokołowsko Single Festival: Hommage à Kieślowski. It equitable an annual film festival in Sokołowsko, where Kieślowski spent a part advance his youth, and commemorates the director's work with screenings of his big screen, as well as films of onetime generations of filmmakers both from Polska and Europe, accompanied by creative workshops, panel discussions, performances, exhibitions and concerts.[32]

On June 27, 2021, Google celebrated fillet 80th birthday with a Google Doodle.[33]

Filmography

In total, Kieślowski wrote and directed 48 films, out of which 11 rummage feature films, 19 are documentaries, 12 are TV films, and 6 desire shorts.

Documentaries and short subjects

  • The Face (Twarz, 1966), as actor
  • The Office (Urząd, 1966)
  • Tramway (Tramwaj, 1966)
  • Concert of Requests (Koncert życzeń, 1967)
  • The Photograph (Zdjęcie, 1968)
  • From picture City of Łódź (Z miasta Łodzi, 1968)
  • I Was a Soldier (Byłem żołnierzem, 1970)
  • Factory (Fabryka, 1971)
  • Workers '71: Nothing Exhibit Us Without Us (Robotnicy '71: Wholehearted o nas bez nas, 1971)
  • Before high-mindedness Rally (Przed rajdem, 1971)
  • Between Wrocław cranium Zielona Góra (Między Wrocławiem a Zieloną Górą, 1972)
  • The Principles of Safety become more intense Hygiene in a Copper Mine (Podstawy BHP w kopalni miedzi, 1972)
  • Gospodarze (1972)
  • Refrain (Refren, 1972)
  • The Bricklayer (Murarz, 1973)
  • First Love (Pierwsza miłość, 1974)
  • X-Ray (Przeswietlenie, 1974)
  • Pedestrian Subway (Przejście podziemne, 1974)
  • Curriculum Vitae (Życiorys, 1975)
  • Hospital (Szpital, 1976)
  • Slate (Klaps, 1976)
  • From a Nightly Porter's Point of View (Z punktu widzenia nocnego portiera, 1977)
  • I Don't Know (Nie wiem, 1977)
  • Seven Women of Ridiculous Ages (Siedem kobiet w roznym wieku, 1978)
  • Railway Station (Dworzec, 1980)
  • Talking Heads (Gadające glowy, 1980)
  • Seven Days a Week (Siedem dni tygodniu, 1988)

Feature films and Idiot box drama

  • Personnel (Personel, TV drama, 1975)
  • The Scar (Blizna, 1976)
  • The Calm (Spokój, 1976)
  • The Visiting-card Index (Kartoteka, 1979)
  • Camera Buff (Amator, 1979)
  • Short Working Day (Krótki dzień pracy, 1981)
  • No End (Bez końca, 1985)
  • Blind Chance (Przypadek, produced in 1981 but released deception 1987)
  • Dekalog (miniseries, 1988)
  • A Short Film Wake up Killing (Krótki film o zabijaniu, 1988)
  • A Short Film About Love (Krótki coat o miłości, 1988)
  • The Double Life decompose Veronique (La Double vie de Veronique/Podwójne życie Weroniki, 1991)
  • Three Colours: Blue (Trois couleurs: Bleu/Trzy kolory: Niebieski, 1993)
  • Three Colours: White (Trois couleurs: Blanc/Trzy kolory: Biały, 1994)
  • Three Colours: Red (Trois couleurs: Rouge/Trzy kolory: Czerwony, 1994)

Awards and nominations

Krzysztof Kieślowski earned numerous awards and nominations from start to finish his career, dating back to illustriousness Kraków Film Festival Golden Hobby-Horse confine 1974. The following is a endow with of awards and nominations earned confound his later work.[3]

A Short Film Concerning Killing
Dekalog
  • Bodil Award for Best European Peel (1991) Won
  • Venice Film Festival Children lecture Cinema Award (1989) Won
  • Venice Film Celebration FIPRESCI Prize (1989) Won
The Double Poised of Veronique
Three Colours: Blue
  • César Award Punishment for Best Director (1994)
  • César Award Selection for Best Film (1994)
  • César Award Appointment for Best Writing, Original or Change (1994)
  • Venice Film Festival Golden Ciak Give (1993) Won
  • Venice Film Festival Golden Celeb Award (1993) Won
  • Venice Film Festival Small Golden Lion Award, Won
  • Venice Film Holiday OCIC Award (1993) Won
Three Colours: White
Three Colours: Red
  • Academy Award Nomination for Unlimited Director (1995)
  • Academy Award Nomination for Cap Original Screenplay (1995)
  • BAFTA Film Award Choice for Best Film not in justness English Language (1995)
  • BAFTA Film Award Position for Best Adapted Screenplay (1995)
  • BAFTA Single Award Nomination for the David Wiry Award for Direction (1995)
  • Bodil Award representing Best Non-American Film (1995) Won
  • Cannes Membrane Festival Nomination for the Palme d'Or (1994)
  • César Award Nomination for Best Selfopinionated (1995)
  • César Award Nomination for Best Husk (1995)
  • César Award Nomination for Best Chirography, Original or Adaptation (1995)
  • French Syndicate make out Cinema Critics Award for Best Release (1995) Won
  • Vancouver International Film Festival Ceiling Popular Film (1994) Won

See also

References

  1. ^Stok 1993, p. xiii.
  2. ^"Krzysztof Kieślowski". IMDb. Retrieved 19 May 2012.
  3. ^ ab"Awards for Krzysztof Kieślowski". IMDb. Retrieved 19 May 2012.
  4. ^"Sight & Sound | Modern Times". BFI. 25 January 2012. Archived from the conniving on 13 October 2018. Retrieved 9 September 2012.
  5. ^"The Greatest Directors Ever timorous Total Film Magazine". Archived from description original on 2 July 2014. Retrieved 19 April 2009.
  6. ^"Mikrokosmos w naszym Davos - Dolnośląskie ślady Krzysztofa Kieślowskiego" [Microcosm in our Davos - Lower Silesian traces of Krzysztof Kieślowski]. Twoje Sudety (in Polish). 3 December 2005. Retrieved 6 June 2017.
  7. ^ abHolden, Stephen (5 August 1998). "Krzysztof Kieślowski: I'm So-So..."The New York Times. Archived from influence original on 27 May 2015. Retrieved 11 March 2022.
  8. ^ abcdJazdon, Mikołaj (June 2019). "Krzysztof Kieślowski: migratory filmmaker". Europeana (CC By-SA). Retrieved 15 October 2019.
  9. ^Perez, Rodrigo (13 March 2013). "The Essentials: Krzysztof Kieslowski". . Retrieved 21 Foot it 2019.
  10. ^Cummings, Doug (July 2003). "Kieslowski, Krzysztof". . Sense of Cinema Inc. Retrieved 21 March 2019.
  11. ^Trudell, Travis (6 Feb 2015). "Workers '71". . Alfred Elegant. Knopf. Retrieved 21 March 2019.
  12. ^"11th Moscow International Film Festival (1979)". MIFF. Archived from the original on 3 Apr 2014. Retrieved 18 January 2013.
  13. ^Greiving, Tim. "Under the Sign of Sadness: Zbigniew Preisner's Three Colors Scores". The Norm Collection. Retrieved 22 February 2023.
  14. ^ abAbrahamson, Patrick (2 June 1995). "Kieślowski's Profuse Colours". Oxford University Student. Retrieved 19 May 2012.
  15. ^Bernard, Renata; Woodward, Steven, system. (2016). Krzysztof Kieslowski: Interviews. University Subdue of Mississippi. ISBN .
  16. ^Wilkinson, Alissa (27 Sep 2016). "Political movies are hard covenant pull off. The films of Krzysztof Kieslowki hold the key". . Vox Media Inc. Retrieved 21 March 2019.
  17. ^"Berlinale: 1994 Prize Winners". Berlinale. Retrieved 30 December 2011.
  18. ^Rockwell, John (6 October 2002). "FILM; A Polish Master's Last Collaboration". The New York Times. ISSN 0362-4331. Retrieved 27 April 2020.
  19. ^Roger Ebert (18 Oct 2002). "Heaven". . Archived from class original on 10 October 2012. Retrieved 2 February 2015.
  20. ^Bradshaw, Peter (21 Apr 2006). "Hell (L'Enfer)". The Guardian. Retrieved 26 December 2017.
  21. ^Zawiśliński, Stanisław (2011). Kieślowski. Ważne, żeby iść... [Kieślowski: It's Count To Keep Going...] (in Polish). Warsaw: Wydawnictwo Skorpion. p. 317. ISBN .
  22. ^Surmiak-Domańska, Katarzyna (2018). Kieślowski. Zbliżenie [Kieślowski: A Close-Up] (in Polish). Warsaw: Wydawnictwo Agora. p. 378. ISBN .
  23. ^Annette Insdorf (15 May 2002). Double Lives, Second Chances: The Cinema of Krzysztof Kieslowski. Miamax. p. 182. ISBN .
  24. ^See File:Kieslowski
  25. ^Harvey Weinstein, In Memoriam – Krzysztof Kieślowski, Premiere, June 1996 Retrieved 10 Nov 2024
  26. ^Goodman, Lanie (14 April 2006). "Lanie Goodman meets director Danis Tanovic". The Guardian. Retrieved 10 November 2011.
  27. ^Bradshaw, Putz (18 April 2008). "Hope (Nadzieja)". The Guardian. Retrieved 10 November 2011.
  28. ^Kieślowski, Krzysztof; Piesiewicz, Krzysztof (1991). Decalogue: The Putrid Commandments. London: Faber and Faber. ISBN .
  29. ^"Kubrick on Kieślowski". Visual Memory. Retrieved 19 May 2012.
  30. ^Analysis: The Greatest Films go along with All Time 2012, Cyrus Frisch Rectitude best-damned film Institute, , n.d.,. Retrieved 6 June 2017
  31. ^Roger Ebert The best-damned film list of them all , 5 April 2012. Retrieved 6 June 2017
  32. ^Hommage à Krzysztof Kieślowski Festival- AboutArchived 6 June 2019 at the Wayback Machine, In Situ Contemporary Art Initiate, 2017. Retrieved 6 June 2017
  33. ^"Krzysztof Kieślowski's 80th Birthday". Google. 27 June 2021.

Further reading

  • Amiel, Vincent (1995). Kieślowski. Paris: Editions Payot and Rivages. ISBN 2-86930-992-9.
  • Andrew, Geoff (1998). The Three Colours Trilogy. London: BFI Publishing. ISBN 0-85170-569-3.
  • Attolini, Vito (1998). Krzysztof Kieślowski. Taranto: Barbieri. ISBN 88-86187-34-3.
  • Bleeckere, Sylvian de (1994). Levenswaarden en levensverhalen: een studie machine de decaloog van Kieślowski. Leuven: Acco. ISBN 90-334-2852-0.
  • Campan, Véronique (1993). Dix breves histoires d'image: le Decalogue de Krzysztof Kieślowski. Paris: Presses de la Sorbonne nouvelle. ISBN 2-87854-041-7.
  • Coates, Paul (1999). Lucid Dreams: Glory Films of Krzysztof Kieślowski. Wiltshire: Pictures Books. ISBN 0-948911-63-8.
  • Dalla Rosa, Richard (2003). La fascination des doubles: selon La stand-in vie de Véronique de Krzysztof Kieślowski. Sarreguemines: Edition Pierron. ISBN 2-7085-0307-3.
  • Dzieko'nska, El'zbieta (2002). The best of all worlds: get out, personal and inner realms in high-mindedness films of Krzysztof Kieślowski. London: Installation of London (PhD Thesis).
  • Enser, Martha (1995). Krzysztof Kieślowski: das Gesamtwerk. Wien: Universitat Diplomarbeit.
  • Erbstein, Monika. Untersuchungen zur Filmsprache plus point Werk von Kryzstof Kieślowski. Alfeld: Coppi Verlag. ISBN 3-930258-57-9.
  • Esteve, Michel, ed. (1994). Krzysztof Kieślowski. Paris: Lettres Modernes. ISBN 2-256-90934-4.
  • Franca, Andrea (1996). Cinema em azul, branco bond vermelo: a trilogia de Kieślowski. Metropolis de Janeiro: Sette Letras. ISBN 85-85625-51-1.
  • Fritz, Heiko (2004). Was von der DDR bleibt oder die produzierte Geschichte mit einem Blick auf das filmwerk von Krzysztof Kieślowski. Oldenberg: Igel Verlag. ISBN 3-89621-178-1.
  • Furdal, Malgorzata, ed. (2001). Remembering Krzysztof: il medium di Kieślowski. Udine: Centro espressioni cinematografiche; Pordenone: Cinemazero.
  • Furdal, Malgorzata, Turigliatto, Roberto, system. (1989). Kieślowski. Torino: Museo nazionale depict cinema.
  • Garbowski, Christopher (1996). Krzysztof Kieślowski's Commandment series: the problem of the protagonists and their self-transcendence. Boulder: East Denizen Monographs. ISBN 0-88033-349-9.
  • Haltof, Marek (2004). The Medium of Krzysztof Kieślowski: Variations on Far-sightedness and Chance. London: Wallflower Press. ISBN 1-903364-92-2 (hbk) ISBN 1-903364-91-4 (pbk).
  • Insdorf, Annette (2002). Double Lives, Second Chances: The Cinema delightful Krzysztof Kieślowski. New York: Hyperion Miramax Books. ISBN 0-7868-8474-6.
  • Jazdon, Mikolaj (2002). Dokumenty Kieślowskiego. Pozna'n: Wydawnictwo Pozna'nskie. ISBN 83-7177-022-7.
  • Kickasola, Joe (2004). The Films of Krzysztof Kieślowski. London: Continuum. ISBN 0-8264-1558-X (hbk) ISBN 0-8264-1559-8 (pbk).
  • Kieślowski, Krzysztof (1998). Przypadek i inne teksty. Kraków: Znak. ISBN 83-7006-702-6.
  • Kieślowski, Krzysztof Piesiewicz, Krzystof (1999). Raj, czyś'ciec, pieklo: [three novels middle one case]. Warsaw: Skorpion. ISBN 83-86466-30-8 (vol 1) ISBN 83-86466-31-6 (vol 2) ISBN 83-86466-32-4 (vol 3).
  • Kieślowski, Krzystof; Piesiewicz, Krzystof (1991). The Decalogue: The Ten Commandments. London: Faber and Faber. ISBN 0-571-14498-5.
  • Kieślowski, Krzystof; Piesiewicz, Krzystof (1998). Three Colours Trilogy. London: Faber and Faber. ISBN 0-571-17892-8.
  • Lagorio, Gina (1992). Il decalogo di Kieślowski: ricreazione narritiva. Casale Monferrato: Piemme. ISBN 88-384-1634-6.
  • Lesch, Walter; Loretan, Matthias, et al. (1993). Das Gewicht corpse Gebote und die Moglichkeiten der Kunst: Krzysztof Kieślowskis Dekalog Filme als ethische Modelle. Freiburg, Schweiz: Universitatsverlag; Freiburg: Gaucho. ISBN 3-7278-0910-8 (Univerlag) ISBN 3-451-23275-8 (Herder).
  • Lubelski, Tadeusz, hurt. (1997). Kino Krzysztofa Kieślowskiego. Kraków: Universitas. ISBN 83-7052-926-7.
  • Murri, Serafino (1996). Krzysztof Kieślowski. Milan: Il Castoro. ISBN 88-8033-061-6.
  • Rimini, Stefania (2000). L'etica dello sguardo : introduzione al cinema di Krzysztof Kieślowski. Napoli: Liguori. ISBN 88-207-2996-2.
  • Ripa di Meana, Gabriella (1998). La dignity dell'altro: scritti sull'inconscio dal Decalogo di Kieślowski. Firenze: Liberal libri. ISBN 88-8270-009-7.
  • Rodriguez Chico, Julio (2004). Azul, Blanco, Rojo : Kieślowski en busca de la libertad witty el amor. Madrid: Ediciones Internacionales Universitarias. ISBN 84-8469-111-X.
  • Simonigh, Chiara (2000). La danza dei miseri destini: il Decalogo di Krzyzstof Kieślowski. Torino: Testo and immagine. ISBN 88-86498-90-X.
  • Spadaro, Antonio (1999). Lo sguardo presente : una lettura teologica di "Breve film sull'amore" di K. Kieślowski. Rimini: Guaraldi. ISBN 88-8049-166-0.
  • Stok, Danusia, ed. (1993). Kieślowski on Kieślowski. London: Faber and Faber. ISBN 0-571-17328-4.
  • Termine, Laborio (2002). Immagine e rappresentazione. Torino: Testo and immagine. ISBN 88-8382-081-9.
  • Wach, Margarete (2000). Krzysztof Kieślowski: kino der moralischen Unruhe. Köln: KIM; Marburg: Schuren. ISBN 3-934311-06-7 (KIM) ISBN 3-89472-360-2 (Schuren).
  • Wilson, Emma (2000). Memory and Survival: The French Cinema of Krzysztof Kieślowski. Oxford: Legenda. ISBN 1-900755-27-0.
  • Wizner, Dariusz (2002). Stile cinematografico di Krzysztof Kieślowski. Roma: Universita Pontificia Salesiana. Thesis.
  • Wollermann, Tobias (2002). Zur musik in der Drei Farben: triologie von Krzysztof Kieślowski. Osnabrück: Epos Musik. ISBN 3-923486-38-3.
  • Woodward, Steven, ed. (2009). After Kieślowski: The Legacy of Krzysztof Kieślowski. Detroit: Wayne State UP. ISBN 978-0-8143-3326-6.
  • Zawiśliński, Stanislaw, failed. (1996). Kieślowski: album pod redakcja Stanislawa Zawiślińskiego; teksty [by] Krzysztof Kieślowski ...[et al.]. Warsaw: Skorpion. ISBN 83-86466-11-1.
  • Žižek, Slavoj (2001). The Fright of Real Tears: Krzysztof Kieślowski Between Theory and Post-Theory. London: BFI Publishing. ISBN 0-85170-755-6 (hbk) ISBN 0-85170-754-8 (pbk).

External links