"The story is about a young boy who killed a taxi driver, and then the law killed the boy." Kieslowski explained the gist of the "Fifth Commandment" in two short sentences, and then, Talking about his motivation for shooting: "I think the reason why I made this film is because it is all in my name, because I am a part of this society, one of the nationals of this country of Poland. If In this country, someone puts a loop around another guy's neck and kicks the stool off his feet, he's doing it on my behalf. And I don't want it to happen, I don't Would love to see them do it. I think the film isn't really talking about the death penalty, it's referring to killing in general. No matter why you kill, who you kill, whoever does it, it's wrong. I think that was the second reason I made that film. The third reason was that I wanted to describe the world of Poland: a terrible and boring world. In this world people have no mercy for each other, they have no mercy for each other Hatred, instead of helping each other, they are holding each other back. In this world, they hate each other. A world of loners." The film starts with a two-line narrative, except for Jack, the young lawyer Picot, and then, It was only then that Keith slowly let two unrelated people meet at the intersection of their lives. After years of hard study and successful practice exams, Picot defended Jack's murder for the first time. Even though Picot sympathized with the tragedy behind Jack, he was helpless. The evidence was conclusive and Jack was eventually sentenced to death.
At the end of the movie, Picot drove his car to the countryside, and the sun was setting, and his face was pierced with bitterness. Picot shouted "I hate you" repeatedly, feeling extremely depressed. In an instant, a young lawyer who was full of enthusiasm and prayed to maintain justice in the legal world was completely disintegrated with respect to legal principles, justice, and humanity, and was almost desperate.
Most of the movie, including two important scenes: Jack kills the taxi driver for seven minutes and the law murders Jack. For the two murders, Kieslowski used his usual photorealistic (with a documentary style) method of shooting, shooting straight down with one shot, the scenes were realistic and shocking, and used violence to show an accusation of violence. . The making of documentaries had an important influence on Kieslowski's films. Kieslowski's film attempt began in the form of a documentary. "Recording" is the most direct justification for making a documentary. Every means, however, has a peculiar nature, which creates favourable conditions of expression for certain kinds of things and hindrances for others. After shooting more than 30 documentaries, Kieslowski announced that he would no longer make documentaries. In an exclusive interview with a Polish newspaper in 1995, he explained the reason: "The reason for giving up is that every documentary director will eventually One day we will realize the limit that cannot be surpassed, and once it is surpassed, it will cause harm to the subject. At this time, we will feel that it is necessary to make a drama.” He said in an interview with French TV: "Even the footage of a documentary doesn't have the right to enter the subject that I am most interested in: the private life of an individual." "I would rather go to the drugstore to buy some glycerin and stimulate the actors to shed fake tears than to film someone else's real cry. Pictures, or pictures of real sex and death." Perhaps the people who have the right to see people's real wounds are those who have the ability to do something to heal them. Otherwise the camera is just an offensive weapon, and the viewer is just the attentive voyeur, or the indifferent coward, and the inattentive bystander. These are not only unhelpful for healing, but also unhelpful for people to truly understand their own lives. At this point "recording" is no longer a valid reason.
In the "school" of "documentary" Rikiesevsky developed his unique ability to think comprehensively - which had a great influence on the plot and details of his later films and TV series - even while shooting When it comes to films about ethics and moral backgrounds like "The Ten Commandments", we can see that Kieslowski will never show the choices of ordinary people with a "judgment" attitude, but a very level-headed perspective. Heroes are not villains. There is a reason behind all people's actions. This indirectly answers the question "Who does the film belong to?" Kieslowski's film reveals such an answer: he does not want the film to belong to him, he welcomes the audience to the story of his film with an unequivocal openness Do any interpretation, any interpretation is not an exaggeration. Because he knows that movies are one of the many "mirrors" in the world. All people stare at are actually staring at themselves, and all people's explanations are actually explaining themselves.
Another influence is reflected in Kieslowski's own statement that "I make films according to the principles of documentaries, and his films evolve through concepts rather than plots." "I always write scripts first. Write the whole thing, cut it from the shortest point, usually only one page. But this page represents the whole thing. I never focus on individual scenes first. Individual characters and individual ways of handling, this whole thing is me "The concept precedes the plot, the thought of the concept leads to the plot and fills in the details, the latter all carefully pointing to the former, making Kieslowski's films always philosophical," a European critic said. Kieslowski: "With a simple story, a few ordinary characters, and an unpretentious style of filmmaking, a film made that, after being seen by others, is like a great philosopher who has just learned The feeling of coming out of a poor life."
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