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IMDbPro

Sem Fim

Título original: Bez konca
  • 1985
  • Not Rated
  • 1 h 47 min
AVALIAÇÃO DA IMDb
7,3/10
6,1 mil
SUA AVALIAÇÃO
Sem Fim (1985)
Legal DramaPolitical DramaDramaRomance

A esposa do advogado recentemente falecido tenta lidar com a dor de sua perda e manter seu último caso no tribunal.A esposa do advogado recentemente falecido tenta lidar com a dor de sua perda e manter seu último caso no tribunal.A esposa do advogado recentemente falecido tenta lidar com a dor de sua perda e manter seu último caso no tribunal.

  • Direção
    • Krzysztof Kieslowski
  • Roteiristas
    • Krzysztof Kieslowski
    • Krzysztof Piesiewicz
  • Artistas
    • Grazyna Szapolowska
    • Maria Pakulnis
    • Aleksander Bardini
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,3/10
    6,1 mil
    SUA AVALIAÇÃO
    • Direção
      • Krzysztof Kieslowski
    • Roteiristas
      • Krzysztof Kieslowski
      • Krzysztof Piesiewicz
    • Artistas
      • Grazyna Szapolowska
      • Maria Pakulnis
      • Aleksander Bardini
    • 18Avaliações de usuários
    • 24Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
  • Fotos38

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    Elenco principal25

    Editar
    Grazyna Szapolowska
    Grazyna Szapolowska
    • Urszula Zyro
    Maria Pakulnis
    Maria Pakulnis
    • Joanna Stach
    Aleksander Bardini
    Aleksander Bardini
    • Mieczyslaw Labrador
    Jerzy Radziwilowicz
    Jerzy Radziwilowicz
    • Antek Zyro
    Artur Barcis
    Artur Barcis
    • Darek Stach
    Michal Bajor
    Michal Bajor
    • Miecio (aplikant)
    Marek Kondrat
    Marek Kondrat
    • Tomek
    Tadeusz Bradecki
    Tadeusz Bradecki
    • Hipnotyzator
    Danny Webb
    Danny Webb
    • American
    • (as Daniel Webb)
    Krzysztof Krzeminski
    Krzysztof Krzeminski
    • Jacek Zyro
    Marzena Trybala
    Marzena Trybala
    • Marta Duraj
    Adam Ferency
    Adam Ferency
    • Rumcajs
    Elzbieta Kilarska
    Elzbieta Kilarska
    • Antoni's Mother
    Jerzy Kamas
    Jerzy Kamas
    • Judge Biedron
    Hanna Dunowska
    Hanna Dunowska
    • Justyna
    Jan Tesarz
    Jan Tesarz
    • Joanna's Father
    Andrzej Szalawski
    Andrzej Szalawski
    • Lawyer
    Jacek Domanski
    Jacek Domanski
    • Dzialacz opozycji
    • (não creditado)
    • Direção
      • Krzysztof Kieslowski
    • Roteiristas
      • Krzysztof Kieslowski
      • Krzysztof Piesiewicz
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários18

    7,36K
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    10

    Avaliações em destaque

    10paul2001sw-1

    No equal

    Krystoff Kieslowski is today best known for his last four films, made wholly or partly in France, which in some ways is a shame, as while these movies are not without merit, they are outshone by the massive brilliance of his earlier, Polish work. Kieslowski was, of course, the greatest visual poet of communist architecture; and there's also something magical about the way he communicates the most intense emotion behind the facade of Slavic stoicism (witness, for example, in this film, the scene where the car is taken by the police). And also there was the subtext of the political beneath the personal, never more apparent than in 'No End', set (and, courageously, made) in the aftermath of the impact of the Solidarity movement on Polish society. In the face of civil unrest, the government had declared martial law, hoping to stave off a "friendly" Russian invasion; but system had lost confidence in itself, and had already effectively negotiated its own demise by the time the collapse of the Berlin wall finally cast it into oblivion. It's in this intermediate period, where normality intermingled with fear, that 'No End' unfolds, a drama that combines moral complexity and human sympathy in equal measure.

    The first words of dialgoue in this film are "I died". Billy Wilder had planned to start 'Sunset Boulevard' in a similar manner, but the suits didn't like it and that film makes less sense as a result of the changes they demanded. More recently, films like 'Truly, Madly, Deeply' and 'The Sixth Sense' have repeated one idea explored in 'No End', that of the ongoing relationship between the living and the dead. But whereas both of those films are weighted down by obvious sentimentality, the opening speech in 'No End' is simple, disturbing, painfully real and yet leads naturally into something far more than a ghost story, a tale in which there is no right and wrong, but in which the mixed motives of the characters only illuminate their humanity.

    Kieslowski is famous for his collaboration with Zbigniew Priesner, who wrote wonderful scores for this film (and all it's successors); but watching it, one is also struck by how well he used silence. He also had a talent for finding the most wonderfully expressive faces: the lawyer (Aleksander Bardini), the wife (Grazyna Szapolowska) and the client (Artus Barcis) all went on to appear in his 'Dekalog'. It's impossible to imagine a better actor than Bardini for his role; while Szapolowska appears more beautiful than any Hollywood starlet precisely because of the complete lack of glamour with which she is shot; her portrayal of a woman holding things together in the face of an unconquerable grief is wonderful and immensely sad.

    There are so many moments of brilliance in this film, almost of all them unflaunted; the moment where the woman's son interrupts her phone call; the tiny flinch induced when a door closes behind her, the way that light floods a previously darkened room; the speech of introduction uttered by the lawyer; Kieslowski constantly finds the subtlest of ways to shed light on his subjects. This is a ten star film, made by a master, grounded in its era but which speaks of so much more. Now released on DVD, it has to be seen.
    chaos-rampant

    Bewildered epiphany

    I've began to follow Kieslowski over the past days, hoping to finally encounter his color films which I've seen for years pop up among the brilliant works. I watched this as background glimpse into his formative period. Interestingly he does two things:

    One is he presents a world that has come undone and carries the past. A woman, her husband has died as the film begins, life has broken down and she has to go out and face it. Everything that she encounters is an echo from the past. Two instances that involve photos exemplify it; nude photos of her that her husband had found but he's now gone before she had a chance to explain, the other shows an idyllic summer that he possibly spent with another woman (before they met?). But also an old friend who now vies for her, a night of prostituting herself because he reminds her of her husband, being hypnotized to forget him conjures his presence, and round it goes from bewilderment to epiphany.

    The other thing they do here is look to frame a response to bewilderment felt by Poles who had just been through strikes and martial law. A man is awaiting trial, different narratives are offered up by lawyers. Should he be pragmatic or protest? It's one of the threads that were left undone at the time of the husband's death who was a lawyer on the case. His own advice, which I perceive to be Kieslowski's, is for everyone to remove the distortions that prevent them from seeing each other.

    Viewers who are content to encounter a life of episodic confusion will be happy with what he does. I miss a more penetratingly visual way of threading these events and, already from my brief glimpses into Dekalog, I believe it's this ability to surround and submerge causality that he's going to cultivate, a way of dreaming in advance. Here, tellingly, we have the husband announcing his own death in the very first shot whereas it could have been threaded as discovery and glimpsed in a haze (he already tries this by the first episode of Dekalog).
    5azerda

    Convoluted and difficult

    Although there is the obvious plot of the grieving wife, the movie is really about Poland under martial law. Probably unable to directly focus on such political topics, Kieslowski attempts to 'hide' this other side beneath a twisted Ghost subplot.

    A dark movie, one that demands attentive viewing, this one will probably never be as successful as some of Kieslowski's other works, which have probably led its viewers to pick up this one.
    8ellkew

    Superb performances as usual

    Mesmerising, if only for the performance by Grazyna Szapolowska as the widow who moves through the film and ignites every scene. Beautiful and tragic at once she emanates power over the audience and one cannot turn away. I had not realised how much this film must have influenced some established mainstream films that we assume to be original. Obviously many of them owe a great debt to this story. Told unflinchingly by Kieslowski in a unshowy manner it still demonstrates moments of brilliant insights into the human condition. The pain and torture we must endure after such heartache runs through the the heart of this film. I particularly liked the little moments as always, such as the glass slipping through her fingers, the dog trying to get in the car, the dirt on her hands from the bumper whilst witnessing the accident, the hypnotherapy session where she sees him. All simple and yet so elegant. No hammering it through to the audience with big signposting saying 'Remember this for later!'. Why don't more films treat the audience with a tiny bit more intelligence or is the majority of film going to assume we are all thick. And just because a film is mainstream doesn't mean it has to be low brow. Godfather, Deer Hunter, French Connection? Very strong films? If you see this also see Amator.
    6boblipton

    No 30

    Grazyna Szapolowska's husband dies. He was a public defender, so she tries to arrange for his last client, Artur Barcis, to have a good defendant. She arranges for Aleksander Bardini, under whom her husband had apprenticed, to take the case. Barcis is accused of having led an illegal strike, and Bardini works to have him tread the middle ground of confessing and denial.

    Krzysztof Kieslowski's movie is a murky one that tells us we can never tell what is going on at the moment. Only in retrospect can we figure out what was going on, and even that may not be true. It is a gloomy movie, with a lot of motivation left unclear. Did Miss Szapolowska really love her husband? Why has Bardini, who hasn't taken a case of this sort for more than 30 years, taken this one? What was the strike actually about? That remains uncertain, even after the movie's end.

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    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      The film takes place in 1982.
    • Citações

      [First lines]

      Antek Zyro: [speaking directly to the camera] I died - four days ago.

    Principais escolhas

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    Perguntas frequentes13

    • How long is No End?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 17 de junho de 1985 (Polônia)
    • País de origem
      • Polônia
    • Idiomas
      • Polonês
      • Inglês
    • Também conhecido como
      • No End
    • Locações de filme
      • Varsóvia, Voivodia da Mazóvia, Polônia
    • Empresa de produção
      • Zespol Filmowy "Tor"
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 47 minutos
    • Cor
      • Color
    • Mixagem de som
      • Mono
    • Proporção
      • 1.66 : 1

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