In "1966-1988: Kieślowski, cinéaste polonais", Luc Lagier follows the career of Polish director Krzysztof Kieślowski from 1964, when he entered the film school at Lodz, to 1991 and "La double vie de Véronique". The story is set all the while in the context of the political situation in Poland which, it goes without saying, heavily influenced Kieślowski's films. An interesting view for Kieślowski beginners and fans alike.

In "1966-1988: Kieślowski, cinéaste polonais", Luc Lagier follows the career of Polish director Krzysztof Kieślowski from 1964, when he entered the film school at Lodz, to 1991 and "La double vie de Véronique". The story is set all the while in the context of the political situation in Poland which, it goes without saying, heavily influenced Kieślowski's films. An interesting view for Kieślowski beginners and fans alike.

Essentially a making-of of La double vie de Véronique, this documentary is based on an interview with Kieślowski held while he was making that film. Kieślowski discusses his personal philosophy on the process of making his films and the themes behind them, from his documentaries in communist Poland to La double vie de Véronique. A very well-made and thoughtful making-of.

Essentially a making-of of La double vie de Véronique, this documentary is based on an interview with Kieślowski held while he was making that film. Kieślowski discusses his personal philosophy on the process of making his films and the themes behind them, from his documentaries in communist Poland to La double vie de Véronique. A very well-made and thoughtful making-of.

介绍了1994年夏天波兰导演克日什托夫·基耶斯洛夫斯基在阿姆斯特丹举办的年轻导演研讨会的片段，研讨会的主题是演员的表演方向与方法。

介绍了1994年夏天波兰导演克日什托夫·基耶斯洛夫斯基在阿姆斯特丹举办的年轻导演研讨会的片段，研讨会的主题是演员的表演方向与方法。

这部近一个小时的纪录片拍于1995年，是拍完《红》因病休养的阶段。 　　基耶斯洛夫斯基不大喜欢被采访，他在1995年接受维日比茨基访问，整理出这部纪录片，而导演、录音等人皆是他之前的合作伙伴，使得访问更容易深入。

这部近一个小时的纪录片拍于1995年，是拍完《红》因病休养的阶段。 　　基耶斯洛夫斯基不大喜欢被采访，他在1995年接受维日比茨基访问，整理出这部纪录片，而导演、录音等人皆是他之前的合作伙伴，使得访问更容易深入。

This is a beautifully made and totally engrossing feature-length retrospective portrait of Kieslowski by a former student of his who is now one of Poland's finest documentary filmmakers. Maria Zmarz-Koczanowicz gives a lot of attention to the beginnings of Kieslowski’s career: his studies at the Lodz Film School and his first documentary films. The film recounts as fully as possible the artistic path of Kieslowski and the character of the man, presenting a portrait of a fulfilled artist, of a director wholly engaged in the drama of the time of his protagonists. An important aspect of the documentary is how it tries to explain the phenomenon of Kieslowski’s reception in Poland and abroad, as well as an analysis what is the standing of his work today and who is following in his footsteps. 　　The film is richly illustrated with archival material as well as excerpts from the student, documentary, and feature films of Krzysztof Kieslowski. Zmarz-Koczanowicz uses the late director's own words as well as scraps of memories kept by his friends and colleagues: Wim Wenders, Agnieszka Holland, Slawomir Idziak, Jacek Petrycki, Grazyna Szapolowska, Tadeusz Sobolewski, Irene Jacob, Zbigniew Preisner, Marcin Latallo, Juliette Binoche, Andrzej Titkow, Andreas Veiel, Krzysztof Zanussi, and others. Loved and admired, Kieslowski was a filmmaker's filmmaker: "Cinema is about drudgery. It is about getting up early, about not sleeping at night, about fretting, about rain. This is cinema, this is real cinema. And the moments of satisfaction happen seldom." 　　LINKS: 　　http://pffamerica.com/still_alive.htm 　　http://www.siff.net/festival/film/detail.aspx?id=22173&fid=32

This is a beautifully made and totally engrossing feature-length retrospective portrait of Kieslowski by a former student of his who is now one of Poland's finest documentary filmmakers. Maria Zmarz-Koczanowicz gives a lot of attention to the beginnings of Kieslowski’s career: his studies at the Lodz Film School and his first documentary films. The film recounts as fully as possible the artistic path of Kieslowski and the character of the man, presenting a portrait of a fulfilled artist, of a director wholly engaged in the drama of the time of his protagonists. An important aspect of the documentary is how it tries to explain the phenomenon of Kieslowski’s reception in Poland and abroad, as well as an analysis what is the standing of his work today and who is following in his footsteps. 　　The film is richly illustrated with archival material as well as excerpts from the student, documentary, and feature films of Krzysztof Kieslowski. Zmarz-Koczanowicz uses the late director's own words as well as scraps of memories kept by his friends and colleagues: Wim Wenders, Agnieszka Holland, Slawomir Idziak, Jacek Petrycki, Grazyna Szapolowska, Tadeusz Sobolewski, Irene Jacob, Zbigniew Preisner, Marcin Latallo, Juliette Binoche, Andrzej Titkow, Andreas Veiel, Krzysztof Zanussi, and others. Loved and admired, Kieslowski was a filmmaker's filmmaker: "Cinema is about drudgery. It is about getting up early, about not sleeping at night, about fretting, about rain. This is cinema, this is real cinema. And the moments of satisfaction happen seldom." 　　LINKS: 　　http://pffamerica.com/still_alive.htm 　　http://www.siff.net/festival/film/detail.aspx?id=22173&fid=32