#The Young Kieslowski

[zionistsinfilm]

When you buy or stream The West Wing, Scandal, View from the Top, The American President, The Young Kieslowski, The Big Bang Theory, Bulworth, A Few Good Men, House, Bones, you're giving money to zionists. Joshua Malina peddles mythological progressive zionism.

[byneddiedingo]

Jean-Louis Trintignant in The Conformist (Bernardo Bertolucci, 1970)

Cast: Jean-Louis Trintignant, Stefania Sandrelli, Gastone Moschin, Dominique Sanda, Enzo Tarascio, Fasco Giachetti, José Quaglio, Pierre Clémenti. Screenplay: Bernardo Bertolucci, based on a novel by Alberto Moravia. Cinematography: Vittorio Storaro. Production design: Ferdinando Scarfiotti. Film editing: Franco Arcalli. Music: Georges Delerue. 

Of all the hyphenated Jeans, Jean-Louis Trintignant seems to me the most interesting. He doesn't have the lawless sex appeal of Jean-Paul Belmondo, and he didn't grow up on screen in Truffaut films like Jean-Pierre Léaud, but his career has been marked by exceptional performances of characters under great internal pressure. From the young husband cuckolded by Brigitte Bardot in And God Created Woman ... (Roger Vadim, 1956) and the mousy law student in whom Vittorio Gassman tries to instill some joie de vivre in Il Sorpasso (Dino Risi, 1962), through the dogged but eventually frustrated investigator in Z (Costa-Gavras, 1969) and the Catholic intellectual who spends a chaste night with a beautiful woman in My Night at Maud's (Eric Rohmer, 1969), to the guilt-ridden retired judge in Three Colors: Red (Krzysztof Kieslowski, 1994) and the duty-bound caregiver to an aged wife in Amour (Michael Haneke, 2012), Trintignant compiled more than 60 years of great performances. His most popular film, A Man and a Woman (Claude Lelouch, 1966), is probably his least characteristic role: a romantic lead as a race-car driver, opposite Anouk Aimée. His role in The Conformist, one of his best performances, is more typical: the severely repressed Fascist spy, Marcello Clerici, who is sent to assassinate his old anti-Fascist professor (Enzo Tarascio). Marcello's desire to be "normal" is rooted in his consciousness of having been born to wealth but to parents who have abused it to the point of decadence, with the result that he becomes a Fascist and marries a beautiful but vulgar bourgeoise (Stefania Sandrelli). Bertolucci's screenplay places a heavier emphasis on Marcello's repression of homosexual desire than does its source, a novel by Alberto Moravia. In both novel and film, the young Marcello is nearly raped by the chauffeur, Lino (Pierre Clémenti), whom Marcello shoots and then flees. But in the film, Lino survives to be discovered by Marcello years later on the streets the night of Mussolini's fall. Marcello, whose conformity does an about-face, sics the mob on Lino by pointing him out as a Fascist, and in the last scene we see him in the company of a young male prostitute. This equating of gayness with corruption is offensive and trite, but very much of its era. Even the sumptuous production -- cinematography by Vittorio Storaro, design by Ferdinando Scarfiotti, music by Georges Delerue -- doesn't overwhelm the presence of Trintignant's intensely repressed Marcello, with his stiff, abrupt movements and his tightly controlled stance and walk. If The Conformist is a great film, much of its greatness comes from Trintignant's performance.

[thisandthat-whatever]

One of my favourite films of all time, Naked by Mike Leigh. I watched it five or six times at least. David Thewlis was excellent in it.….And it is funny becaus since I was young, I have loved both extremes. I loved surrealistic stuff like early David Lynch such as Blue Velvet, or stop-motion surreal movies by Brothers Quay, or movies like Naked Lunch by David Cronenberg, but on the other hand I absolutely loved the realism of Mike Leigh’s movies as well as Polish director Kryzstof Kieslowski (who is also another master of cinema). And then from Asian cinema , one of my favourites is Mother by Bong Joon-ho.

And below is Blue by Kryzstof Kieslowski, which is the film that started my great admiration and love for Juliette Binoche’s acting.

[pdremaster]

The Young Kieslowski - Official Trailer [Upscaled 4K]

[radiatingrares]

Haley Lu Richardson (x)

[2228pm]

The Young Kieslowski (2014)

[kallieburgers]

The Young Kieslowski (2014)

[filmcuts]

The Young Kieslowski (2015 Film) by Kerem Sanga

[ezguita]

3 RENK KIRMIZI

İnsan varolduğundan bu yana zıtlıklar arasında en büyük sınavını veriyor. Dünya bir bütün ama sınırlarla parçalara ayrılmış ve adına ülke denmiş her bir parçanın. Savaş olmuş, barış olsun diye belki ya da tam tersi. İyilik, kötülük… Aydınlık, karanlık. Kimi koşullandırılarak tüm insanlığı hepi topu iki kümeye bölmüş; “Ben ve Öteki” koymuş adını. Kimi gökkuşağını da üçe, beşe katlamış; özgür iradesi, belki de sınırsız hayal kapasitesi ile her insanı farklı bir renge boyamış. İlki kendi gibi olmayanı yargılamış, ikincisi anlamaya çabalamış. Unutulan bir şey varmış; anlamak kabul etmek değildir. Yaşamın özü sevgi ve güvendir.

[facewrms]

The Young Kieslowski (2014) dir. Kerem Sanga

[letterful]

At a meeting just outside Paris, a fifteen-year-old girl came up to me and said that she'd been to see [The Double Life of] Véronique. She'd gone once, twice, three times and only wanted to say one thing really - that she realized that there is such a thing as a soul. She hadn't known before, but now she knew that the soul does exist. There's something very beautiful in that. It was worth making Véronique for that girl. It was worth working for a year, sacrificing all that money, energy, time, patience, torturing yourself, killing yourself, taking thousands of decisions, so that one young girl in Paris should realize that there is such a thing as a soul. It's worth it.

KRZYSZTOF KIESLOWSKI, from Kieslowski on Kieslowski. 

[devilduck]

“Or take this girl, for example. At a meeting just outside Paris, a fifteen-year-old girl came up to me and said that she'd been to see [The Double Life of] Véronique. She'd gone once, twice, three times and only wanted to say one thing really - that she realized that there is such a thing as a soul. She hadn't known before, but now she knew that the soul does exist. There's something very beautiful in that. It was worth making Véronique for that girl. It was worth working for a year, sacrificing all that money, energy, time, patience, torturing yourself, killing yourself, taking thousands of decisions, so that one young girl in Paris should realize that there is such a thing as a soul. It's worth it.”

Krzysztof Kieślowski, Kieslowski on Kieslowski

[osugna]

“The Double Life of Veronique” is a film about feeling that is so abstract and can be evoked in art. It is the feeling that we are not alone, because there is another one of us. We are connected at a lever far, far beneath thought. We have no understanding of this. It is simply a feeling that we have. 

The film does it with the face of Irene Jacob, who plays a Polish woman named Weronika, and a French woman named Veronique. She shows her face vulnerable, romantic, joyous, tender, we become invested in her introspection.

The film opens in Poland with a luminous, happy and young woman who visits her aunt in Krakow. While there, her flawless voice wins attention of a choir director and she is chosen to sing at a concert. Before that takes place, she is in a square and sees her self — boarding a bus. The double is a music teacher in Paris, who experiences an uncanny sense of grief and consequently quits her other career as a singer. She doesn’t know why, but we know a shiver in the web of time and space has vibrated from Poland. She later falls in love with a puppeteer, she tells her that all her life she has felt she is in two places at once.

The movie has a hypnotic effect. There seems not much to be happened in the plot, but the film sustain a a delicate combination of simplicity and unfathomable complexity. Krzysztof Kieslowski transport us into the realm of consciousness, presentiments, intuition, and dreams, all these are the inner life of a human being. 

Kieslowski’s work is always drawn to coincidence and synchronicity. In “The Double Life”, we explore the enigmatic connection between the two women with their emotions, and supported the hints of several elements, such as the shoestring and the crystal ball. We don’t understand what those represent, the film conjures a mystical experience, there’s no need to unravel the plot and search for meaning in the maze of fragmentary significations.

8.2/10

[radiatingrares]

Haley Lu Richardson (x)

[2228pm]

The Young Kieslowski (2014)

[paulamakesfilms]

Three Colors: Blue (Kieslowski, 1993)

!film review!

‘Blue’ is the first film in Kieslowski’s Three Color trilogy. It is said that each film in the trilogy represents a colour in the French Flag and an ideal from the French Revolution (Blue; Liberty, White; Equality and Red; Fraternity.)

Admittedly, I have only watched ‘Blue’ from the trilogy but I am eventually going to watch the whole trilogy.

Three Colors: Blue is about a housewife (Julie) who loses her famous composer husband and young daughter in a car crash. We see their deaths in the first few minutes of the film, leaving the rest of the film to Julie, our protagonist who must navigate grief alone.

Ultimately, the film is about grief; Julie deals with her grief by attempting to escape her past, herself and the world around her. She sells almost all of her belongings except a blue mobile from her daughter’s room. When asked by a real estate agent what she does, she responds with ‘Nothing’. She attempts to be liberated (like I mentioned, Blue= Liberty) and starts a new life. However, the more she tries to be free, the more her past grips her. For example, the teenager who witnessed the horrific incident, finds Julie and tells her the last words of her husband and tries to give her her cross necklace (which she denies).

Lets talk about colour. From the start, we are flooded with the colour blue, as expected. Kieslowski put blue everywhere he could; often completely covering the camera in blue gels, using bright blue stage lights and using blue props/ locations (for example, Julie’s daughter’s room is blue and the mobile she keeps is also blue). Blue can signify a lot of varying emotions; sadness but also calmness, safety but also change. Blue as a colour has no one definite meaning. So, blue can represent Julie’s complex grief as she experiences almost every emotion possible in the film.

Simply put, this film is unique. There are creative camera angles, often distorted and uncomfortable, symbolising Julie’s grief. There are some cool close-ups that I found stunning, like when Julie is in hospital and we are zoomed in on her iris to see the reflection of her doctor. Creative! The most creative and powerful technique Kieslowski uses here is the use of a black screen and the fade to black transition. Normally, when we see a black screen it symbolises the end of the scene, and we are moved to a new location/ character or time. Not in this film. Here we stay in the same scene, with no time change. The first time it happened I was surprised and taken off guard; I’ve never seen this done before. An example is when Julie’s friend asks what Julie is going to do about her late husband’s mistress and it fades to black, alongside dramatic music. Instead of moving onto another scene, we stay in the same scene for just a few more seconds to see Julie say two words- ‘Meet her.’ This technique grabs the audiences attention and makes us intrigued and listen. Some critics theorise the black screen/fade to black symbolise Julie’s emotions, she is stuck in inescapable grief and thus there is no ‘change of scene’ for her. Clever.

La musique! I must dissect the use of music in this film as it is so incredibly powerful and holds so much symbolism. First, there is a small subplot that hints at Julie being the actual composer rather than her husband. I wish Kieslowski would have given more attention to this storyline, but nonetheless I enjoy the small plot twist. Her husband’s music (or hers who knows) haunts her throughout the film, she cannot be freed from it (which links back to the whole liberty narrative). For example, after swimming in a blue lit pool, she is suddenly stopped by the powerful music. It’s non-diegetic but somehow she hears it too; maybe we are inside her mind. Throughout the film, she works on her husband’s unfinished piece. At the start, the music is simple and somewhat unpleasant. As the film carries on and Julie grows as a character, the score also grows. More notes are added, creating depth and power.

I found this theory interesting- Georgina Evans suggests that Julie may have synaesthesia. Synaesthesia is a condition in which your senses are all interlinked so when you hear music you can see colours/shapes, for example. So, Julie could be able to see her music and hear colours. This would explain the use of blue; we see blue when she does. Maybe we really are more inside her mind than we think; we hear music when she does, see colours when she does…

Overall, I understand why this film is said to be among the top 100 greatest films of all time. There is just so much symbolism and creativity in the filmmaking and so much care, emotion, attention to the characters too. Kieslowski is a fantastic filmmaker, who knows how to subtly include deeper meanings that make the audience think and truly connect with the characters and their situations. Binoche, who plays Julie, is an incredible actress; she has few lines in the film but effectively conveys her complex emotions through facial expressions.

In my expert* opinion, I would rate this film 8/10.

*I am not an expert.

paulamakesfilms