Decalogue, seven

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Movie
German title Decalogue, seven
Original title Decalogue, siedem
Country of production Poland
original language Polish
Publishing year 1990
length 55 minutes
Rod
Director Krzysztof Kieślowski
script Krzysztof Kieślowski,
Krzysztof Piesiewicz
production Ryszard Chutkowski
music Zbigniew Preisner
camera Dariusz Kuc
cut Ewa Smal
occupation
chronology

←  Predecessor
Decalogue, Six

Successor  →
Decalogue, Eight

Dekalog, Sieben is a Polish television film from 1990. As the seventh part of the Dekalog series by director Krzysztof Kieślowski , the film deals with the seventh commandment You Shall Not Steal .

content

Maika had a love affair with her teacher at 16 and became pregnant. Her mother, the director of the school, decided at the time to officially pass the child, a girl, as her own child and raise it in order to cover up the scandal, but also because Maika did not yet have a sense of responsibility. The mother raised the child like her own. Maika accepted this arrangement. However, over the years she felt her longing for her daughter, officially her sister, keep growing.

Now, six years later, Maika wants her child back, even if the child recognizes his grandmother as a mother and does not know that Maika is her real mother. Only Maika's father and her lover at the time (Bogusław Linda) know the truth.

Maika decides to "steal" her own daughter during a children's theater performance; H. kidnap - but steal back from her point of view as the actual mother - and flee with her to Canada. She has prepared all of this well in advance. She hides with the child with her boyfriend at the time, the child's father. Maika tells her that she is her real mother and pleads with her daughter to call her mom, but the little one insists on "Maika".

When her friend Maika suggests that she should return the child to her mother, she fled again and hid with the child at the train station with a friendly, but unsuspecting employee. Minutes before the train arrives, Maika is found by her mother and father, who had previously made several attempts to contact the daughter in order to get her to return the child and to give up. The child runs into her mother's arms and calls "Mama", which she had previously refused to Maika. When Maika sees this, she gives up and gets on the train alone, sad. Now the child releases from his grandmother's arms and runs along the platform after the train, staring confusedly after the sad Maika behind the windows of the train.

criticism

“The story of heightened emotions is not a hymn to true motherly love, but a more complex exploration of a dramatic conflict situation. It is about questions of responsibility, ownership, belonging, loneliness and death. Despite weaker acting performances an important element within the overall cycle. "

- film service

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