Krzysztof Kieslowski's Dekalog

Anka's mother has left her a letter. Her father has sealed that letter in another envelope marked, "To be opened after my death" (Kieslowski 1987). When her father leaves on a work-related assignment, Anka discovers the letter and immediately becomes enmeshed in a struggle between own(prenominal) desire and moral obligation. Eventually, her personal desire to know the contents of the letter wins out, and she rips it open. Upon reading its contents, Anka is take aback and dis mayed to discover that Michal may not be her father.

When Michal returns, Anna confronts him with the contents of the letter. This irreversible decision changes the record of their relationship forever. For Anka, the discovery opens the potentiality for a new interpretation of her relationship with Michal. The p bental perceptual constancy she had known in him is gone, moreover she understands there may be room for a relationship that includes sexuality. Michal contends that though he may have been suspicious of the contents of the letter, there was never a good time to open it. As each deals with the composite emotions invoked by the letter, viewers are left pondering the import of any relationship between them that might include sex. The nature of their relationship is based on genuine love but that relationship evolves in light of the contents of the letter. Anka's father is some an imposter, a role Anka adopts in her acting endeavors. Self-deception is a key theme in this episode. When Anka and

Michal combine their energies and burn the letter, Kieslowski is demonstrating that self-deception is often a answer that involves more than one person. Instead of moralizing astir(predicate) observation one's mother and father, the film shows the complex choices that mercifuls often stage in spite of such dictates.

If moral and ethical choices are never black and discolour, as Episode 4 suggests, hence that theme is furthered in Episodes 5 and 6. Episode 5, made into a longer film called "A Short Film about Killing", clearly demonstrates the intellectual and emotional complexities for human beings of onerous to abide by the Ten Commandments.

The Commandments are black and white but few real- heart ethical challenges are. In Episode 5, a cruel young man, Jacek, wanders the streets in search of a victim. ab initio Jacek comes off as completely amoral. He pushes complete strangers into urinals and throws rocks at passing cars. He desires robbing someone, and he finds a middle-aged, fat Taxi-driver the amend foil. Unlike many in Warsaw, the Taxi-driver earns a decent active wage and is able to ignore anyone he so chooses.

Kieslowski, K. (Director). Dekalog. Poland: 550 min. 1987.

Magda's intent of sexual wantonness and Tomek's life of loneliness are reverse by Kieslowski at this point, demonstrating there are no blowzy or black and white answers about complex human choices and issues. Tomek's disappearance is purported to be due to a suicide attempt. At this point, Magda now begins to seek out Tomek. She is now the obsessed one. She feels blamable knowing she has taken his innocence in a acid manner. She refused to believe Tomek's offer of love was genuine, untainted by famish or desire. Now, she desires more contact with him that is more fulfilling than her former life of sexual emptiness. Tomek is forever c
Order your essay at Orderessay and get a 100% original and high-quality custom paper within the required time frame.