“Over a 12 months earlier than his loss of life, Krzysztof Kieślowski agreed to the topic of a brief documentary titled Krzysztof Kieślowski: I’m so-so, carried out by his personal longtime assistant Krzysztof Wierbicki. A feature-length documentary, made for Danish tv, depicting Krzysztof Kieślowski’s recollections, his life and cinema, and a few pictures whereas he was resting from retirement.
Initially, the movie was supposed to be only a trifling interview however ended up changing into one of many outstanding accounts of Krzysztof Kieślowski’s life. The theme stems from Krzysztof Kieślowski’s perception that folks mustn’t lie about their emotions, even within the case of well mannered dialogue. So when somebody requested him how he was, as an alternative of answering “well” or “very well”, he replied “I’m so so”.
Despite being named “normal” (so-so), ultimately Krzysztof Kieślowski: I’m so-so turns into a outstanding movie about an unbelievable director whose influential work has been within the works for the previous twenty years. This movie will accompany the director’s total profession as an essential guidebook.”
– Film critic and theorist James Berardinelli
Before formally leaving his profession as a director in 1996 to care for his household, Krzysztof Kieślowski launched into a venture a couple of trio of colours. Three Colors Triology. With the theme constructed on the three colours of the French nationwide flag with the ideas of freedom, equality and fraternity, the trilogy has nothing to do with political beliefs. The three movies are three on a regular basis tales that happen within the context of up to date society, a society underneath the cinematic eyes of the Polish director, which is progressively remodeling after distinguished occasions in Europe within the early 2000s. Nineteen Nineties.
A graduate of the celebrated Lodz movie college, political influences within the midst of a unstable European society allowed him to focus all his energies on documentaries. From there, Krzysztof Kieślowski searches for a actuality that isn’t and isn’t advised on the display screen when uncared for or suppressed by the up to date Polish authorities. With a peaceful narration, removed from criticism, propaganda or ethical drama, Krzysztof Kieślowski is just a narrator within the midst of political turmoil in society. The political turmoil and their affect on Krzysztof Kieślowski additional happy him with the standard of the reality. He started to comprehend the restrictions of the documentary kind, failing to precise the way in which he needed to see the reality. Krzysztof Kieślowski turned to creating fictional movies, the place he was liberated from the very boundaries to freely use invisible and metaphysical supplies.
When requested why he does not like America, Krzysztof Kieślowski as soon as frankly replied: “What I do not like about America is the pursuit of a particularly empty speak and excessive complacency. If I requested my American supervisor how he felt, he would say excellent (extraordinarily effectively). Not is ok (okay) or simply good (effectively) that it must be excellentt. I’m not human excellent. If put in English, I’m regular (so-so).”
That is how Krzysztof Kieślowski stepped into the reality, expressed by metaphysical fiction, the place beliefs, goals, instinct, cruelty or fact can’t be defined however can solely be felt. The fragmentation of his consciousness persists by each body of the movie. Here he’s the negotiator, very human between despair and hope. In Three Colors: Blue (1993), Krzysztof Kieślowski with the theme of freedom however not the social or political that means that the colours of the French flag symbolize. It is a blue freedom of feelings and notion of every particular person human being.
In the midst of a peaceable France, Julie should settle for the loss of life of her husband and daughter in a automobile accident through which she is the one survivor. The deliverance is at all times ready however as fragile as it’s meant to be, when Jukie tries to commit suicide on the hospital by taking an overdose however finally ends up unable to swallow the drugs. Set in a grand setting (like how her husband Julie wrote a track praising the unification of Europe) however Blue deeper into the acutely aware fragmentation of chaos and individuality. Physical relationships in search of solace are shattered by the brutal fact. Since then, it has additionally damaged Julie’s previous hyperlinks with songs written together with her husband. It is a private blue that seeks to search out the liberty of human being with out the dogma or politics and morality sought by Krzysztof Kieślowski.
In one scene, when Julie drops a lump of sugar right into a cup of espresso that is about to overflow, she refuses the person who loves her or right here, she refuses all different males who need to “touch” her. The video exhibits a bit of music performed on the flute by a avenue artist throughout the road. When Julie introduced the sugar dice to the espresso cup, the angle was shifted from mid-range to a close-up to see the espresso seeping into the sugar in her hand earlier than she dropped it into the espresso cup inflicting it to overflow.
Director Krzysztof Kieślowski as soon as shared that it took him and his assistant half a day to experiment with sugars for this scene. This is just a shot of a mass of sugar, which touches the floor of the espresso, absorbs the moisture and turns the espresso’s white to brown shade. It takes about 5 seconds or based on Krzysztof Kieślowski 5 seconds and thirty seconds for the sugar to soak up the moisture from the espresso and the lump to show brown. A seemingly easy shot become a job critically examined by the director when it got here to timing. With a traditional quantity of sugar, it is going to take eight seconds, which is a minimum of three seconds longer than initially supposed. One should not linger too lengthy on such a element, says Krzysztof Kieślowski, it solely takes 5 seconds and he has to organize for it.
What’s the purpose of obsessing over the shot of a sugar dice hitting the floor of the espresso, absorbing simply sufficient moisture to show brown earlier than being dropped and spilling the espresso? Krzysztof Kieślowski is in Julie’s world, and we’re those her and the person who loves her. This comes from Julie’s perspective, exhibiting that she is observing, seeing and feeling the little issues. By specializing in it with all her would possibly, every thing happening round her turned unimportant. In these 5 seconds, Kulie was herself. She turned a topic as fragile as sugar. This that means opens her perspective on not accepting the reality, denying the reality and he or she actually does not care concerning the fact both. Here, every thing round her life, earlier than and now, about music, about life, concerning the man who loves her. She did not care and intentionally pushed the deepest a part of her consciousness into the sugar dice and when it had soaked up sufficient espresso, she dropped it in a manner she did not settle for and gave up.
The artist’s flute-played piece exhibits the fragmentation of Julie’s robust sense of the character of fact. She rejected the person, dipped in sugar, watched it. Dropped sugar is a denial however the music does not cease. The music right here turns into a 3rd character within the shot, reminding her of one thing she needs to neglect and does not need to stick with it with something. Fragmentation of visible and visible parts turns into strongly opposed to one another however on the identical time parallel and inseparable. In the sensible great thing about listening to and the interior complexity that the sight brings, Krzysztof Kieślowski presents a magnificence deep within the human coronary heart, a magnificence that goes hand in hand with ache. The great thing about actuality and the ache of the soul created an exquisite second of Julie’s personal aesthetic sensibility.
Then Julie approached the musician and he or she understood that completely different folks, with completely different circumstances on the earth, in a second all had related ideas. This highlights the advanced inside of Julie or right here the inside of director Krzysztof Kieślowski. Through music or another motive, completely different folks suppose and affiliate with one another. It creates chaotic dispersion however on the identical time turns into tightly linked collectively in only a second with the very comfortable and delicate contact of the soul.
Krzysztof Kieślowski has at all times staunchly denied his critics or those that take into account him a “moralist” and solely accepts it superficially by shrugging his shoulders with the title “metaphysic”. He isn’t a creator of fact, stating the reality or selling the reality. But by fact, underneath his imaginative and prescient of abstraction, utilizing his means to find, he introduced forth a fact that exists and is current for every particular person very in another way.