Krzysztof kieslowski biography of abrahams

He was raised Roman Catholic and retained what he called a "personal and private" relationship with God. Without any career goals, he then entered the College for Theatre Technicians in Warsaw in because it was run by a relative.

Driven to explore the questions of why we suffer and how we live, Kieslowski collaborated with Krzysztof Piesiewicz (not a writer but a great.

He wanted to become a theatre director, but lacked the required bachelor's degree for the theatre department, so he chose to study film as an intermediate step. He was rejected twice. To avoid compulsory military service during this time, he briefly became an art student, and also went on a drastic diet to make himself medically unfit for service.

After several months of avoiding the draft, he was accepted to the school's directing department in , on his third attempt.

Krzysztof Kieślowski (born J, Warsaw, Poland—died Ma, Warsaw) was a leading Polish director of documentaries, feature films, and television films of the s, '80s.

Though he was not an overtly political filmmaker, he soon found that attempting to depict Polish life accurately brought him into conflict with the authorities. His television film Workers ' Nothing About Us Without Us , which showed workers discussing the reasons for the mass strikes of , was only shown in a drastically censored form.

After Workers '71 , he turned his eye on the authorities themselves in Curriculum Vitae , a film that combined documentary footage of Politburo meetings with a fictional story about a man under scrutiny by the officials. He decided that fiction not only allowed more artistic freedom but could portray everyday life more truthfully.

His first non-documentary feature, Personnel , was made for television and won him first prize at the Mannheim Film Festival. Both Personnel and his next feature, The Scar Blizna , were works of social realism with large casts: Personnel was about technicians working on a stage production, based on his early college experience, and The Scar showed the upheaval of a small town by a poorly planned industrial project.

These films were shot in a documentary style with many nonprofessional actors; like his earlier films, they portrayed everyday life under the weight of an oppressive system, but without overt commentary. Camera Buff Amator , which won the grand prize at the 11th Moscow International Film Festival [ 12 ] and Blind Chance Przypadek , continued along similar lines, but focused more on the ethical choices faced by a single character rather than a community.

For example, Blind Chance was not released domestically until , almost six years after it had been completed. At the time it was harshly criticized by both the government, dissidents, and the church.