Krótki film o milosci

We've seen various riffs on Hitchcock's 'Rear Window' since the release of the said masterpiece in 1954. We've seen Brian De Palma dive further into the voyeuristic core of 'Rear Window' and double down on the sleaziness to show us the dark underbelly of the show business lifestyle in Los Angeles in 'Body Double'. We've seen 'Disturbia' which was a bit of remake of 'Rear Window' specifically made mainly with the teenage/young adult demographic in mind. But in my opinion, out of all the films made subsequently that play around with the inherent 'peeping tom' gimmick of 'Rear Window', the only one(out of the ones I've seen) that distinguishes itself and deserves to be called a 'masterpiece' in its own right is Kieślowski's 'A Short Film About Love'.

The shortened version of the film was used for Episode 6 for the epic mini-series 'Dekalog'. In my opinion both the shortened version as well as this longer film version have their own distinct personalities. The film works as a subversion of conventions as well as a deep exploration of the abstract concept of 'love'. It is a subversion of conventions, because we see an immensely sensitive depiction of a young man who is a primarily a peeping tom, and he spends his time secretly watching an attractive older woman who lives in the opposite apartment, which is inherently creepy. But the twist is that Tomek doesn't do it for sexual stimulation, he does it because watching this woman(Magda) go about her mundane daily routine gives him a different form of stimulation which he describes as 'love'. Once the central surface element of the peeping goes out of the way in the narrative, in the 2nd half of the film, Kieślowski doubles down on the concept of 'love' and starts asking questions through the two central characters Tomek and Magda. Does 'love' have a place to exist in the modern world or is it a thing of the past? Can a romantic connection between two human beings be forged only through sex with eventual orgasms, or is there something beyond the desires of the flesh, something more transcendent? The film also ends up answering these questions or at least Kieślowski gives us a clear indication of his attitude towards the concept of 'love' in his characteristic poetic ways.

As I wrote earlier, there are various moments of poetry or poetic realism in the film that transcend grounded, realistic storytelling. Like the moment where Magda after an argument with one of her lovers spills the milk which Tomek delivered at her doorstep, all over her table as Tomek looks on from his apartment room via the telescope. Or the moment of pure joy after Tomek asks Magda out on a date,etc. With the ending, Kieślowski goes beyond poetic realism and ventures into territories of magical realism but without compromising the humane, tender tone of the film. The ending to the film actually is remarkably different to the ending of the shortened episode in 'Dekalog', but they both make the same thematic implication.

The acting from the two central actors Olaf Lubaszenko and Grażyna Szapołowska is nothing short of special. Their individual scenes as well as the scenes that they share together are incredibly rich with subtlety, with pathos and with genuine emotions. Apart from the actors, something else that has to be admired for helping Kieślowski with the film is the beautiful music and score by Zbigniew Preisner which is rich with a sense of melancholic sweetness.

Highly Recommended.

Unlike the other masterpiece in his Decalogue, Killing, in 'A Short Film About Love' Kieslowski treats the subject of love with an extraordinarily delicate, rather than a polemic, eye. As ever he manages to express more with subtlety than most directors ever will with expression: it is rather what is not said, what is not expressed, that leaves an indelible mark upon us.

Olaf Lubaszenko's central performance as the boy is, rather than 'opaque' as it has been termed, engrossing from the start. His innocence and fragility, just like the film's, are an invitation to the intimacy we progressively acquire. We, the film's audience, watch engrossed and exposed just as does he, and, in another sense, does the subject of his observations. His telescope becomes a direct motif; distance, separation, enlargement: all the things the filmmaker provides for the viewer. Thus, at emotional, intellectual and metacinematic levels the film explores its themes: observation and love.

While it may not come to solid conclusions (nor ought it to), the sensitivity with which the director watches his actors is utterly compelling. The resultant negotiation between man and women, subject and observer, viewer and filmmaker is a relationship, a love affair. Perhaps Barthes might have sought to go further, waiting for the end of the film, its 'death', to find psychological and sexual consummation to such an affair, and the film may support such a reading. Even a far less academic approach is sufficient, however, in order to enjoy the work at it appears at face value. We do not need to analyse in order to feel, and it is the film's emotional impact that remains when our brief voyeurism, our visit to the cinema, ends.

I was not sure what to expect from this film as it is the only the second Polish film of Kieslowski's I have seen. Now it is one of my favorite foreign films and probably my second favorite Kieslowski film, under Red. I was so glued to the television while watching this because I was truly interested in the characters. I saw the 85 minute version and I can say it went very fast because I was completely wrapped up in the story. The passion that these two characters showed is something rarely seen in film. The fact that it was such a simple film with simple characters is quite important as well because it added to the feel of the film. I recommend anyone who can find this film see it.

sorry about the summary title, but i hate pithiness. this is, of course, more than just a film i like. it's beautiful. the scene when the woman fantasizes about what might have been with the boy is heartrending, and you don't have to have lived in communist East Europe to understand her sense of loneliness. others think that "A Short Film about Killing" was the stand out from the Dekalog, but to me this is the director's finest achievement, and the harshest and boldest treatment of love that you could see on celluloid. The most important film of my life.

I have watched this movie 10 years ago when I was feeling that love was an impossible happiness to achieve and it always accompanied disappointments.

Now that I am a happy man and I am not so pessimistic about love and life. However, this movie still fills my soul with wonder: How can love, disappointments and life be described so beautiful, like a poem, stylish and touching...

I will remember it as long as I believe in love.