A Short Film About Love
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A Short Film About Love
A Short Film About Love (Polish: Krótki film o miłości) is a 1988 Polish romantic drama film directed by Krzysztof Kieślowski and starring Grażyna Szapołowska and Olaf Lubaszenko. Written by Krzysztof Kieślowski and Krzysztof Piesiewicz, the film is about a young post office worker deeply in love with a promiscuous older woman who lives in an adjacent apartment building.[1]
A Short Film About Love is also a short film about looking. Through it, Kieślowski engages in a dialogue between Love and Look in at least three different registers, and the result is a thoughtful and intriguing study of the way we look at the world and how these ways of looking inform our desire. It's no mere coincidence that both the posters for the film here on Letterboxd and over at IMDb feature the idea of someone's eyes being manipulated by love.
This is a short film about what love is not: women as observed sex object; women catering to solipsistic male sex fantasies; tolerance for stalking and sexual harassment; the assumption that women yearn for any attention no matter how harmful. The film is worth watching for Kieslowski's skillful use of composition, lighting and color but it is a study of dated values that have been challenged by feminist ideology and gender politics.
An expanded version of episode VI in Kieslowski's legendary Decalogue, this film examines love, longing and sex through the story of a young postal worker who spies on a promiscuous woman in an adjacent housing project.
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A Short Film About Love, the second of Krzysztof Kieslowski's Decalogue episodes to be transformed into a feature film (the other being A Short Film about Killing), takes a unique look at the emotional latticework that interconnects love, lust, and sexual obsession. Hypnotically engrossing, this picture delves deep into the psyches of its two main characters, employing irony, humor, and drama to weave a masterful tale of human interaction that will leave an indelible imprint on all who view it.
Tomek survives the suicide attempt, but while he's in the hospital, Magda is riddled with guilt. She begins to obsess over him, trying to find out everything she can about his life and friends. She uses a pair of binoculars to watch his apartment, waiting for his return. She turns away her lover, unwilling (or unable) to engage in sex while Tomek is away.
Certainly, the central irony in the film is how the tables are turned. The object of voyeurism becomes the voyeur. The loved one becomes the lover. In the end, it's not clear whether or not Magda has fallen for Tomek, but we recognize that she is experiencing deep pangs of guilt for what she did, and that she craves his return to innocence. She would like nothing more than for him to return to spying on her. Recognizing too late her power to wound, Magda seeks redemption. Obliquely, the closing scene of A Short Film About Love indicates she might find it. In this, the resolution is vastly different than that of Decalogue 6, which concluded with an emotionless Tomek admitting to Magda that he will never spy on her again. Coupled with several added scenes that build character and fill plot holes, this different ending gives a new and more satisfying outlook to the story than the one presented in Decalogue.
A Short Film About Love follows lonely teenager Tomek (Olaf Lubaszenko) as he becomes increasingly obsessed with his neighbour Magda (Grazyna Szapolowska). What begins with spying on her from his bedroom window culminates in a physical encounter which shatters his illusions about love.
Tomek does some creepy things in order to meet Magda, from tampering with her mail to posing as a milkman. His intentions, however, are not portrayed by the film as malevolent. Rather, his love for Magda is contrasted to her life of empty hook-ups. She is not necessarily more moral than he is. When Magda agrees to go out with Tomek after he comes clean about his machinations, Tomek is given the opportunity to consummate his love for her. But he performs awkwardly. Magda belittles him, which leads to Tomek attempting suicide. Realizing the error of her ways, and experiencing remorse, Magda becomes obsessed with Tomek. She begins to see through his eyes.
The film tells the story of a strange and innocent love. Tomek is obsessed with Magda and spends most of his life spying on her or attempting to attract her attention. When she discovers his obsession she becomes involved with Tomek and betrays him, causing him to slit his wrists. When Magda realises what she has done she becomes obsessed with Tomek, spying on his apartment (waiting for his return) and asking strangers for information.
The Amsterdam-based, Israeli filmmaker and illustrator Daphna Awadish premieres her short animated documentary Bear With Me on 11 February. The film was featured in many film festivals around the world and won the Best Animation award at the Jerusalem Film Festival and the Fantastic Award at Stuttgart International Festival of Animated Film. It is based on interviews with people who crossed borders for love and exposes a unique perspective on long-distance relationships and moving to another country because of love.
uuu Echoes of Alfred Hitchcock's classic ''Rear Window'' flow through this moody melodrama about a man whose romantic life overlaps with voyeurism. Directed by the great Polish filmmaker Krzysztof Kieslowski. S N P V
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Kieślowski and other directors from the Documentary Film Studio in Warsaw made short films - with titles like Fabryka (Factory), Szpital (Hospital) and Dworzec (Station) - about communities and workplaces, depicting the Poland of the 1960s, 1970s and 1980s. Each film was about a particular group of people, but, at the same time, offered a more generalized image of Poland.
Although Kieślowski was restricted in his work by censorship from the Communist state, he aimed at describing the true Poland in his documentaries. His short factual films are like poems that operate with metaphors and allusions to give the true depiction of reality. 59ce067264
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