[CYCLE] THE DECALOGUE 6 : thou shalt not be a luxurious

On the occasion of the re-release in restored version of the ten parts of the Decalogue of Kieslowski distributed by Diaphana, back on one of the works of the founders of cinema is the european post-Walesa, a monument of ten hours made by one of the greatest directors of his time. Box of various themes and navigating between the social and the religion, we chroniquerons the entirety of the episodes, four hands, with each day a new article. Study on a case-by-case basis within a follow-up analysis more broad : we find the author behind the quilt, the thought behind the human drama.

The Decalogue 1
The Decalogue 2
The Decalogue 3

The Decalogue 4
The Decalogue 5
The Decalogue 6

The Decalogue 7
The Decalogue 8
The Decalogue 9

The Decalogue 10

With Thou shalt not be luxurious, Kieslowski questions the nature of kinship : love, sex and perversion are deconstructed and demystified. He recounts here the complex relationship between a woman exhibitionist and voyeur shy, through the development of uninterrupted power relations : from innocence to the manipulation, humiliation and perversion.

Dekalog 6 – Thou shalt not be luxurious

Each episode of the DECALOGUE exchange of light – photography retains its own tones, but the context seems to morph slightly every time. The Decalogue 6 is the choice of the night and interior lights polarized (hot for his female character, cold to his male character) ; the result is the drawing for some form of intimacy, challenged by the subject of his film, which boasts precisely the intrusion of this fundamental right to privacy.

In the staging and in the symbols highlighted by Kieslowski, we find this idea of reconciliation between two poles, however the opposite. This is a case of extreme and, at the same time, proximity. This to be achieved by means of a telescope, a telephone line, or by human contact.

“Kieslowski plays with the superficiality and ambiguity of kinship. The fascination, the admiration and love for him are the data written in the sand ; shifting and ephemeral, they can also be corrupted.”

In THE DECALOGUE 6, Kieslowski plays with the superficiality and ambiguity of kinship. The fascination, the admiration and love for him are the data written in the sand ; shifting and ephemeral, they can also be corrupted, for example, for perverse or humiliating. It is in the constant evolution of this relationship-the pivot that the episode finds its dynamism and its dramaturgy : the tables turn, the eyes lose themselves, find themselves and transform themselves. It is never the work of a single character, but each time the combination of the couple : the structure can not stand on a single pillar.

In a way, this sixth episode is a perfect example of the little importance that Kieslowski was able to give in the strict sense of the ten commandments : adultery and lust are not even formulated as themes of analysis, they are just pretexts to develop a romance with implications relatively immoral (voyeurism, manipulation).

“This sixth episode is a perfect example of the little importance that Kieslowski was able to give in the strict sense of the ten commandments.”

THE DECALOGUE is like often the reference (Bergman, in particular, is a constant in every episode), but here it is to Hitchcock that Kieslowski is a blink of an eye. As in the appropriation of the figure of the femme fatale and in the writing of a character to mirror total hero hitchcock, as in the tributes discrete recall as a Window on the courtyard (the observation of the neighbors to the long-view through their windows) Psychosis (the effect voyeur on the opposite sex).

This is probably in part thanks to these inspirations that the sixth episode is class monument of staging – for the entire series, it is probably one of the most sophisticated. The symbolism is more subtle, the effects are varied, the situation is so moving that the eyes of Kieslowski does that evolve. Vein of background in the novel has confused its this spirit perverse, and the result is not decadent, but poetic. This is where his greatest tour de force : to make the unhealthy innocence.

It is in its bitter conclusions that the artwork complements it perfectly. It all could have been well awkward if Kieslowski did not have this unique talent to film the distress, the regret, the vice. Each character is an enigma, impossible for the spectators to see at a glance uniform as they themselves are rough. This variety built with the tragedy, because their choices are less predictable.

The point of view is here a pivot, the nerve centre of each emotion as an interpersonal relationship, the emotion depends on the look. It shapes so everything from the narration to the framework, of the music to the drama. As in Hitchcock, which is inspired by krzysztof Kieslowski, is also a matter of twists and turns ; and, as in Bergman, everything is a matter of feelings. The two are there, and the result is all the more upsetting.

KamaradeFifien

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INFORMATION

• Original title : Jeden Dekalog

• Realization : Krzysztof Kieslowski

• Scenario : Krzysztof Kieslowski

• Main actors : Maja Komorowska, Wojciech Klata, Henryk Baranowski

• Country of origin : Poland

• Output EN : June 29, 2016

• Output POL: 1988

• Duration : 10 parts of 50 min

• Distributor : Diaphana Distribution