Decalogue, six
| Movie | |||
|---|---|---|---|
| German title | Decalogue, six | ||
| Original title | Decalogue, sześć | ||
| Country of production | Poland | ||
| original language | Polish | ||
| Publishing year | 1990 | ||
| length | 58 minutes | ||
| Rod | |||
| Director | Krzysztof Kieślowski | ||
| script | Krzysztof Kieślowski, Krzysztof Piesiewicz | ||
| production | Ryszard Chutkowski | ||
| music | Zbigniew Preisner | ||
| camera | Witold Adamek | ||
| cut | Ewa Smal | ||
| occupation | |||
| |||
| chronology | |||
| |||
Dekalog, Six is a Polish television film from 1990. As the sixth part of the Dekalog series by director Krzysztof Kieślowski , the film deals with the sixth commandment You should not commit adultery .
The film was also released as a longer theatrical version under the title A short film about love .
content
Tomek is nineteen and has temporarily moved into the room of his best and only friend, thus not only taking over the loving care of his mother, but also the friend's secret passion: observing the woman from the apartment block across the street with old binoculars. In the beginning it is pure voyeurism and curiosity for him. Later he begins to love Magda, a woman who is almost twice his age.
He obtained a professional telescope through a break-in. Magda knows nothing of any of this. She lives her everyday life, the variety of which consists of having affairs with different men on different evenings, as the course of her life so far has convinced her that there can be no love between people. To meet Magda, Tomek puts false notifications in her mailbox, due to which she has to pick up an alleged transfer from the post office where he is at the counter. He also begins to work as a milkman and gets up early at five o'clock to put the milk in front of her door. He works with a few tricks, because the longing to meet her is greater than any reason and fatigue.
When he sees Magda desperately one evening, he has to meet her the next day and orders her again with the help of a fake notification by mail. This escalates the situation and it comes to a turning point. Tomek confesses his secret passion to Magda, she reacts horrified and feels humiliated. Nevertheless, there is an appointment in a café. Then they go to Magda’s apartment. However, this erotic situation is too much for Tomek. Emotionally hurt by Magda's indifference, Tomek rushes home and cuts his wrists.
Shortly after his suicide attempt, Magda visits Tomek's apartment, meets his friend's mother and sees his room with the telescope. Magda then looks several times with binoculars from her apartment to Tomek's room to see whether he has already been released from the hospital. Little by little she realizes that Tomek's love for her was real.
When Tomek is back to work, Magda enters the post office. But he only says: "I'm not watching you anymore."
criticism
“An exploration of our ideas of love, sexuality, fidelity and chastity, whereby the film provokes the possibility of unselfish love by simultaneously confirming and denying the possibility. This part undoubtedly best implements the intention and perspective of the entire cycle: looking at a stranger, overcoming the distance, approaching through an understanding of the other person. The concentrated camera work and the subtle color dramaturgy are also exemplary. "
Web links
- Decalogue, six in the Internet Movie Database (English)