Andrei Tarkovsky

All 14 Krzysztof Kieślowski Movies Ranked From Worst To Best

By David Zou

If one were to compare all the greatest European directors, Krzysztof Kieslowski would clearly stand out as being the only true legatee, capable of bringing the same amount of rigorous philosophical discussion to European cinema, as Andrei Tarkovsky, Robert Bresson, and Ingmar Bergman brought to European cinema in their respective eras.

Kieslowski began his career making low budget documentaries and short films, shown on Polish television in the early seventies and ended up making grand international co-productions 20 years and more than 30 films later. He always remained true to his visions no matter the circumstances, not even under the constraints of the communist censorship.

Today, Kieslowski has come, not only to define Polish or even European cinema in the late 20th century, but his work still stands at the aesthetic pinnacles of cinematic achievements, widely praised by audiences and critics alike.

Perhaps his broad appeal is due to the fact that his films deal with so many universal themes that are as relevant in America today as they were in Poland 30 years ago. Themes such as the ambivalence of love, existentialism, moral constraints of religion are all to be found amongst his repertoire.

Within these themes, Kieslowski seemed able to transcend the limitations of cinema by allowing his audience to leave their seats and enter the mesmerizing world of his films, and in doing so, his films, much like the story of Plato’s Cave, provides its audience with a new outlook on the world they live in.

One final notice before getting to the ranking of Kieslowski’s filmography is that this list only concerns Kieslowski’s feature films and TV dramas, this means that all his documentaries and shorts have been omitted from this list, and of course it goes without saying that ranking a director like Kieslowski’s work is incredibly burdensome and → continue…

From:: Taste Of Cinema

7 Reasons Why “Synecdoche, New York” is an Underrated Masterpiece

By Juan Orellana

I’ve always considered weird the fact that a lot of people talk about cinema as if it was an entity separated from reality, operating on its own set of rules, foreign to everything else. A good character must have this or that trait, audiences want action above all else, an efficient script needs to have a clear three act division, every frame of a film has to contain intrinsic symbolism that furthers its themes, etc. “Rules” like these have always bothered me because the person who states them assumes that all great films have to be formulaic products, when nothing could be further from the truth.

In my opinion, cinema is the closest humans can get to communicating; not just in a rational way, but in a (for a lack of a better word) spiritual way. Every movie is born out of a series of experiences. Depending on the individual, those experiences can become songs, paintings or plays. However, the filmmaker chose to turn them into a movie. In a way, every movie is “based on a true story,” no matter how fantastical.

Why are most stories structured in three acts? Because that’s how our brains work, that’s how people usually tell a story to their friends: context, development and payoff. No one invented it; it grew naturally from human interactions. Same with character development, dialogue, cinematography or editing. All of these elements come from reality. What makes cinema unique is the way it can truly emulate existence. Not just how something looks, but how it feels to actually experience firsthand what happens to the characters.

Ideas like these had been floating in my brain for years because I wasn’t able to actually verbalize them until I read “Sculpting in Time” by Andrei Tarkovsky. His movies are a testament of his deep understanding → continue…

From:: Taste Of Cinema