DEKALOG 7 | Michael J. Cinema“Thou shalt not steal.” —Exodus 2. King James Version“Can you steal something that belongs to you?” — Majka. Coming off of an impressive one- two punch with Dekalog Five and Dekalog Six, Dekalog Seven is a surprising — but somewhat understandable — misstep. The story revolves around Majka (Maja Barelkowska), a 2. Ewa (Anna Polony), for convincing her to give up her daughter, Ania (Katarzyna Piwowarczyk). When Majka was 1. Détails du film Dekalog 7. 22 septembre 2000 | 0 h 57 Acheter ou louer. Genre. Drame. Réalisateur. Krzysztof Kieslowski. Distribution.Wojtek (Boguslaw Linda), her secondary school teacher, and got pregnant. To avoid a scandal, Wojtek agreed to resign from teaching and Ewa raised Ania as her own daughter. Now slightly older, but not any more mature, Majka wants to take her daughter back and runaway to Canada, but things are never that easy. Segments 7 and 8 of ten films loosely based on the Ten Commandments. Dekalog 7: Six year old Ania is the object of a struggle for possession between her mother and. Dekalog VII - siódma część cyklu telewizyjnego z 1988 roku w reżyserii Krzysztofa Kieślowskiego, będąca filmową interpretacją siódmego przykazania: Nie kradnij. This masterwork by Krzysztof Kieslowski is one of the twentieth century’s greatest achievements in visual storytelling. Originally made for Polish television, The. The major issue with Dekalog Seven is that Kieślowski and Piesiewicz withhold this information until it’s too late. Previous Dekalogs are masterworks in their ability to dispense with framing devices and expository information. Characters are introduced without a mention as to how they relate to one another. Only through actions does the audience understand the players and the game at hand. In Dekalog Seven, Kieślowski and Piesiewicz push this tactic to the absolute extreme, causing Majka and Wojtek to stop midway through and explain the set- up and backstory in large, un- compelling chunks. Though Dekalog Seven doesn’t work well as a stand- alone piece, it relates the theme of family from previous Deaklogs — One: father and son, Four: father and daughter, here mothers and daughters — and continues to explore the complexity of moral decisions. In The Films of Krzysztof Kieślowski Kickasola writes: “If there has been a single theme throughout the series, it has been the complexity and difficulty of moral decisions. Kieslowski's camera roves past the windows of a Warsaw housing estate and looks in on a family of four. Majka (Barelkowska), a sad-faced woman in her early twen. Dekalog #7 Dekalog 7 (which plays brilliantly on ‘Thou shalt not steal’) tells the story of Majka, who kidnaps her daughter Ania from her own mother, who is. Majka’s black- and- white attitude is not a clarity of moral vision, but its obfuscation.”[1]Dekalog is never about right and wrong, but about the complications of relations and emotions. That might explain while the ones found here are less than satisfying, they actually lack complexity. Annette Insdorf identifies Dekalog Seven as “a film of frustration,” both thematically — Majka’s frustration with her inability to parent her child — and as inspiration. In an interview that Insdorf references, the real- life legal case that Piesiewicz drew from provides a great deal of complexity and moral murkiness: In reality, the father of the little girl was also the grandfather. It was an incest story … the grandmother had agreed to pass as the mother in the eyes of the neighbors. When I knew the young woman, she was 1. In my opinion, three years later she would logically be led to kidnap her own child.[2]Maja Barełkowska (Majka) – Dekalog: Seven Courtesy of Janus Films. Directed by Krzysztof Kieślowski. Written by Krzysztof Kieślowski & Krzysztof Piesiewicz. Produced by Ryszard Chutkowski. Cinematography: Dariusz Kuc. Editor: Ewa Smal. Music: Zbigniew Preisner. Starring: Anna Polony, Maja Barelkowska, Wladyslaw Kowalski, Boguslaw Linda, Bozena Dykiel, Katarzyna Piwowarczyk, Artur Barcis. Not Rated, Running time 5. Premiered on Polish TV June 1. Kickasola, Joseph G. The Films of Krzysztof Kieślowski: The Liminal Image. Continuum International Publishing, 2. Insdorf, Annette. Double Lives, Second Chances: The Cinema of Krzysztof Kieślowski. Northwestern University Press, 2.
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