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Kieslowski - Polish School of Documentary (Art 1969-1980)

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Description

 							
  
  Krzysztof Kieslowski - Polish School of
Documentary (1969-1980)
  2DVD9 | PAL 4:3 | 240 mins | 6,15 Gb + 5,51 Gb
  Audio: Polish AC3 2.0 @ 192 Kbps |
Subtitles: English, French
  Genre: Documentary | 9 wins | Poland
  
  Krzysztof Kieslowski had the rare
luxury of having US studio sponsorship, no doubt partly because of his savvy use of narrative skills, photogenic stars,
and evident polish. But Kieslowski spent roughly half his career making documentaries that have been rarely seen outside
Poland; fortunately, a recent traveling retrospective and a newly released 2-disc Polish DVD offer opportunities to
catch up.
  
  Content:
  DVD 1:
  1. Z miasta Lodzi (From the city of Lodz), 1969
  2. Bylem
zolnierzem, (When I was a soldier ) 1970
  3. Refren (Chorus), 1972
  4. Murarz (Bricklayer), 1973
  5.
Przeswietlenie (Overexposure), 1974
  6. Zyciorys (Biography ), 1975
  7. Klaps (Cut), 1976
  
  DVD
2:
  1. Pierwsza milosc (First love), 1974
  2. Szpital (Hospital), 1976
  3. Z punktu widzenia nocnego
portiera (From the night porter's point of view), 1977
  4. Siedem kobiet w róznym wieku (Seven women of all
ages), 1978
  5. Gadajace glowy (Talking heads), 1980
  
  Browsing the North American Kieslowski DVDs,
it appears that the only documentary unique to them is The Office (1966), a short film Kieslowski made in school; the
Polish DVD repeats From a Night Porter’s Point of View (1978) and Talking Heads (1980), but offers 10 more
films.
  
  The films are largely cinema verite in style–strictly observational, without overt
commentary or contextualization–and range anywhere from ten minutes to just short of an hour in length. And
unlike the documentary work of, say, the Dardenne brothers, which is stylistically (though not thematically) different
from their fictional work, Kieslowski’s documentary style shows a fondness for the handheld camera and facial
close-ups that would dominate his features. In the documentary I’m So-So (1995), he emphasized his approach:
  
  “Perhaps we were the first postwar film generation–and I say ‘we’ because there
were so many of us–who tried to describe the world as it was. We showed only micro-worlds. The titles suggest
this: The School, The Factory, The Hospital, or The Office. If these mini-observations were pieced together, they would
describe life in Poland.... Living in an undescribed world is hard. You have to try it to know what it feels like.
It’s like having no identity. Your problems and suffering disappear; they disintegrate. To put it more radically:
you feel completely cut off from other people.... We lived according to ideals: Fraternity, equality, and justice. But
none of these things existed, least of all justice.... Documentaries deal with people who live real lives.”
 

  Kieslowski’s documentaries tend to construct this implicit critique of official reality in cumulative
fashion within each film as well. As film scholar Paul Coates puts it, “Kieslowski’s most frequent solution
was the serial alignment of voices expressing the same, or cognate, feelings, individual instances massing into the
’statistically significant proportion’ that validates generalization.” Many of the films are
highly-edited montages collating people and ideas in provocative ways. 						

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