Exploring the nuances of Poland's society and culture, Dekalog: One offers a narrative that is both engaging and thought-provoking. Whether you're a native speaker looking to revisit the classics of your homeland or a student of the language and culture seeking a deeper understanding, this film presents an opportunity to do so through the compelling medium of cinema. This magical-realist film of eight vignettes is a feast for the eyes. Inspired by the director’s own nighttime visions, along with stories from Japanese folklore, it's a visually sumptuous journey through Akira’s imagination. A young boy stumbles on a fox wedding in a forest; a soldier confronts the ghosts of the war dead; a power plant meltdown smothers a seaside landscape in radioactive fumes. With the exception of Dekalog: Ten (“thou shalt not covet”), a dark comedy, each film’s tone is serious. Ten features two brothers dealing with their father’s death, his stamp collection, and the (slightly absurd) intersection of philatelists and organised crime. It serves as light relief after a series of heavy films. a b Tanzer, Joshua (20 January 2001). "A perfect 10 - film review THE DECALOGUE (Dekalog 1 through Dekalog 10)". Offoffoff. Archived from the original on 27 December 2009 . Retrieved 6 June 2017. In the 2002 Sight & Sound poll to determine the greatest films of all time, Dekalog and A Short Film About Killing received votes from 4 critics and 3 directors, including Ebert, New Yorker critic David Denby, and director Mira Nair. [20] Additionally, in the Sight & Sound poll held the same year to determine the top 10 films of the previous 25 years, Kieslowski was named #2 on the list of Top Directors, with votes for his films being split between Dekalog, Three Colors Red/Blue, and The Double Life of Veronique. [21]

Dreams was the first film written solely by Kurosawa and constitutes a recounting of the director’s memories, nightmares, dreams and fears, told through a cinematic lens. What I loved was that it felt completely different to the previous films of Akira, those centred on samurai combat. It's as if he tried in his last films to present a different vision of the world he lived in, and to return to his childhood. Behind the Camera: Poland's Best Cinematographers". Facets. Archived from the original on 25 July 2010 . Retrieved 6 June 2017. Mayfair and Marylebone are built on a grid around squares created by wealthy landowners in the Georgian era. Navigation is easy and it takes me no effort to find Italy in Grovesnor Square. I often jog around this corner of the West End. Malta and Cyprus aren’t far. I jog around St James’s Park to Slovenia.I maintained the apps for a couple of years, adding new features, and promoting them on social media. I gradually lost interest in the “business” side even whilst the apps were still very popular, and focussed on my studies instead. By the time I started university I’d also lost interest in the UI and technical problems of the apps: I’ve probably spent more time worrying about the line spacing of Keep Calm and Carry On posters than anyone else in the world. Shiller, Piketty, and Keynes are clear outliers. The dominance of Americans both in the list and in the field perhaps suggests that economists are considered American by default by most journalists (and perhaps readers too). Nevertheless, the bottom half of the list comprises those of dual and other nationality. The inclusion of a more international pool of economists might reveal a different trend, although we would expect significantly fewer references to them. At the end of A Short Film About Love, the image deepens in hope when Tomek materializes within a shared dream. It is as if the long lens has been a probe taking a geological sample whose unseen layers one inspects. Deepening space may deepen awareness to the point of turning spectators into that other spectator, the young man. The transformation may follow from a fusion of the material and the metaphysical of the kind exemplified by the end of Dekalog: One. The image of the Madonna confronting the newly bereaved Krzysztof may be a close-up of a face, but it is simultaneously distanced from him by its frozen quality, its status as art, and its reminder of Paweł’s unseen mother, in another country—not to mention Krzysztof’s look downward and away from it. That interpenetration of the immediate and the beyond ramifies into the recurrence of animals in this film, and Paweł’s empathy with them: his fascination by pigeons at his window, his grief over the dead dog with the yellow eyes, his interest in a schoolmate’s hamster. Some reflections by C. S. Lewis are surely relevant: “How strange that God brings us into such intimate relations with creatures of whose real purpose and destiny we remain forever ignorant. We know to some degree what angels and men are for. But what is a flea for, or a wild dog?” It is as if Paweł’s intense closeness to the animal world—to that dead wild dog, and the fleas that doubtless burrowed through its fur—brings him closer to another world, into which he then falls so easily. As we all face another stressful, draining year in a global pandemic, I think it’s high time we abandon over-ambitious resolutions: let’s find small, easy nudges that may actually improve our lives. This film is not merely a visual experience but a philosophical journey, compelling the viewer to traverse the landscapes of morality and existence. It immerses the audience in a whirlpool of thoughts, awakening reflections on faith, the fragility of life, and the inexorable force of destiny. Significance and Accolades

a b "The Critics on The Decalogue". Facets. Archived from the original on 24 July 2010 . Retrieved 13 May 2020. Or look at the moral switch in “Decalogue Six,” which is about a lonely teenage boy who uses a telescope to spy on the sex life of a morally careless, lonely woman who lives across the way. He decides he loves her. They see each other because he is a clerk in the post office. He takes a morning milk route so he can see her then, too. Almost inevitably, she finds out he is a peeping tom (and also an anonymous phone caller, and a prankster), but we can hardly guess what she does then. The series was conceived when screenwriter Krzysztof Piesiewicz, who had seen a 15th-century artwork illustrating the Commandments in scenes from that time period, suggested the idea of a modern equivalent. Filmmaker Krzysztof Kieślowski was interested in the philosophical challenge, and also wanted to use the series as a portrait of the hardships of Polish society, while deliberately avoiding the political issues he had depicted in earlier films. He originally meant to hire ten different directors, but decided to direct the films himself. He used a different cinematographer for each episode except III and IX, in both of which Piotr Sobociński was director of photography. [10]I’m a little melancholic to close this chapter of my life. I am, however, incredibly grateful for the experience and to the people who supported me along the way. Modern Times - UK Critics' Top Ten Poll". British Film Institute. December 2002. Archived from the original on 7 March 2012 . Retrieved 13 May 2020.