Krzysztof Kieślowski (Polish pronunciation: [ˈkʂɨʂtɔf kʲɛˈɕlɔfskʲi]; 27 June 1941 – 13 March 1996) was an influential Polish film director and screenwriter known internationally for The Decalogue (1989), The Double Life of Véronique (1991), and The Three Colors Trilogy (1993–1994). Kieślowski received numerous awards throughout his career, including the Cannes Film Festival Jury Prize (1988), FIPRESCI Prize (1988, 1991), and Prize of the Ecumenical Jury (1991); the Venice Film Festival FIPRESCI Prize (1989), Golden Lion (1993), and OCIC Award (1993); and the Berlin International Film Festival Silver Bear (1994). In 1995 he received Academy Award nominations for Best Director and Best Writing In 2002 Kieślowski was listed at number two on the British Film Institute's Sight & Sound Top Ten Directors list of modern times.

Early life

Kieślowski was born in Warsaw and grew up in several small towns, moving wherever his engineer father, a tuberculosis patient, could find treatment. At sixteen, he briefly attended a firefighters' training school, but dropped out after three months. Without any career goals, he then entered the College for Theatre Technicians in Warsaw in 1957 because it was run by a relative. He decided to become a theatre director, but at the time one had to already have at least a bachelor's degree to apply for the theatre school, so he chose to study film as an intermediate step. He was raised Roman Catholic and retained what he called a "personal and private" relationship with God. In an interview, Kieslowski said: “I am not a believer. For forty years I have not entered a church.”

Career

Leaving college and working as a theatrical tailor, Kieślowski applied to the Łódź Film School, the famed Polish film school which also has Roman Polanski and Andrzej Wajda among its alumni. He was rejected twice. To avoid compulsory military service during this time, he briefly became an art student, and also went on a drastic diet in an attempt to make himself medically unfit for service. After several months of successfully avoiding the draft, he was accepted to the Łódź Film School on his third attempt.

He attended from 1964 to 1968, during a period in which the government allowed a relatively high degree of artistic freedom at the school. Kieślowski quickly lost his interest in theatre and decided to make documentary films. Kieślowski also married his lifelong love, Maria (Marysia) Cautillo, during his final year in school (m. 21 January 1967 to his death), and they had a daughter, Marta (b. 8 January 1972).

Kieślowski retired from film-making with a public announcement after the premiere of his last film Red at the 1994 Cannes Film Festival.

Kieślowski's early documentaries focused on the everyday lives of city dwellers, workers, and soldiers. Though he was not an overtly political filmmaker, he soon found that attempting to depict Polish life accurately brought him into conflict with the authorities. His television film Workers '71, which showed workers discussing the reasons for the mass strikes of 1970, was only shown in a drastically censored form. After Workers '71, he turned his eye on the authorities themselves in Curriculum Vitae, a film that combined documentary footage of Politburo meetings with a fictional story about a man under scrutiny by the officials. Though Kieślowski believed the film's message was anti-authoritarian, he was criticized by his colleagues for cooperating with the government in its production.

Kieślowski later said that he abandoned documentary filmmaking due to two experiences: the censorship of Workers '71, which caused him to doubt whether truth could be told literally under an authoritarian regime, and an incident during the filming of Station (1981) in which some of his footage was nearly used as evidence in a criminal case. He decided that fiction not only allowed more artistic freedom, but could portray everyday life more truthfully.

His first non-documentary feature, Personel (1975), was made for television and won him first prize at the Mannheim Film Festival. Both Personnel and his next feature, The Scar (Blizna), were works of social realism with large casts: Personel was about technicians working on a stage production, based on his early college experience, and The Scar showed the upheaval of a small town by a poorly-planned industrial project. These films were shot in a documentary style with many nonprofessional actors; like his earlier films, they portrayed everyday life under the weight of an oppressive system, but without overt commentary. Camera Buff (Amator, 1979) (which won the grand prize at the 11th Moscow International Film Festival)[7] and Blind Chance (Przypadek, 1981) continued along similar lines, but focused more on the ethical choices faced by a single character rather than a community. During this period, Kieślowski was considered part of a loose movement with other Polish directors of the time, including Janusz Kijowski, Andrzej Wajda, and Agnieszka Holland, called the Cinema of Moral Anxiety. His links with these directors (Holland in particular) caused some raised eyebrows within the Polish government, and each of his early films was subjected to censorship and enforced re-shooting/re-editing, if not banned outright (Blind Chance was not released domestically until 1987, almost six years after it was completed).

No End (Bez końca, 1984) was perhaps his most clearly political film, depicting political trials in Poland during martial law, from the unusual point of view of a lawyer's ghost and his widow. It was harshly criticized by both the government and dissidents. Starting with No End, Kieślowski's career was closely associated with two regular collaborators, the screenwriter Krzysztof Piesiewicz and the composer Zbigniew Preisner. Piesiewicz was a trial lawyer whom Kieślowski met while researching political trials under martial law for a planned documentary on the subject; Piesiewicz co-wrote the screenplays for all of Kieślowski's subsequent films. Preisner provided the musical score for No End and most of the subsequent films; the score often plays a prominent part in Kieślowski's films and many of Preisner's pieces are referred to within the films themselves. In these cases, they are usually discussed by the films' characters as being the work of the (fictional) Dutch composer Van den Budenmayer. The Decalogue (1988), a series of ten short films set in a Warsaw tower block, each nominally based on one of the Ten Commandments, was created for Polish television with funding from West Germany; it is now one of the most critically acclaimed film cycles of all time. Co-written by Kieślowski and Piesiewicz, the ten one-hour-long episodes had originally been intended for ten different directors, but Kieślowski found himself unable to relinquish control over the project; in the end, each episode featured a different director of photography. Episodes five and six were released internationally in a longer form as A Short Film About Killing and A Short Film About Love respectively. Kieślowski had also planned to shoot a full-length version of Episode 9 under the title A Short Film About Jealousy, but exhaustion eventually prevented him from making what would have been his thirteenth film in less than a year.

Kieślowski's last four films were foreign co-productions, made mainly with money from France and in particular Romanian-born producer Marin Karmitz. These focused on moral and metaphysical issues along similar lines to The Decalogue and Blind Chance but on a more abstract level, with smaller casts, more internal stories, and less interest in communities. Poland appeared in these films mostly through the eyes of European outsiders. The four films were his most commercially successful by some distance.

The first of these was The Double Life of Véronique (La double vie de Véronique, 1990), which starred Irène Jacob. The relative commercial success of this film gave Kieślowski the funding for his ambitious final films, the trilogy Three Colors (Blue, White, Red), which explores the virtues symbolized by the French flag. The three films together garnered a host of prestigious international awards, including the Golden Lion for Best Film at the Venice Film Festival and the Silver Bear for Best Director at the Berlin Film Festival in addition to receiving three Academy Award nominations.