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Krzysztof Kieślowski (27. června 1941 Varšava – 13. března 1996 Varšava) byl polský filmový režisér a scenárista známý především svými snímky Amatér (1979), Dekalog (1988), Dvojí život Veroniky (1991) a trilogií Tři barvy (1993–1994).
The Krzysztof Kieślowski Film School (also known as Katowice Film School) is a Polish film and television school established in 1978 and based in Katowice, Poland. It is a full-time film school and offers MA courses in Directing, Cinematography and Photography, Film and Television Producing.
Krzysztof Kieślowski's international breakthrough remains one of his most beloved films, a ravishing, mysterious rumination on identity, love, and human intuition. Irène Jacob is incandescent as both Weronika, a Polish choir soprano, and her double, Véronique, a French music teacher. Though unknown to each other, the two women share an enigmatic, emotional bond, which Kieślowski details in gorgeous reflections, colors, and movements. Aided by Slawomir Idziak's shimmering cinematography ...
Mar 13, 1996 · Velké zvíře (2000). Prvú verziu scenára napísali Krzysztof Kieślowski a Kazimierz Orłoś na konci roka 1972. Orłoś však v roku 1973 scenár publikoval v Literárnom inštitúte v Paríži a dostal zákaz publikovať v Poľsku, takže sa vtedy film nezačal natáčať.
Krzysztof Kieślowski (1994) Krzysztof Kieślowski (27. juuni 1941 Varssavi – 13. märts 1996 Varssavi) oli poola filmirežissöör. Noorpõlv ja haridus ...
The release includes audio commentary by Annette Insdorf, author of Double Lives, Second Chances: The Cinema of Krzysztof Kieślowski; three short documentary films by Kieślowski: Factory (1970), Hospital (1976), and Railway Station (1980); The Musicians (1958), a short film by Kieślowski's teacher Kazimierz Karabasz; Kieślowski’s Dialogue (1991), a documentary featuring a candid interview with Kieślowski and rare behind-the-scenes footage from the set of The Double Life of Véronique ...
If one were to compare all the greatest European directors, Krzysztof Kieslowski would clearly stand out as being the only true legatee, capable of bringing the same amount of rigorous philosophical discussion to European cinema, as Andrei Tarkovsky, Robert Bresson, and Ingmar Bergman brought to European cinema in their respective eras.
