Quote:
A famous Polish journalist presents a problem for the powers-that-be when he displays his full political skill and knowledge on a television show featuring questions and answers on a world conference by a panel of journalists. His enemies take away his privileges when he is away. The shock of being “unwanted” parallels a deeper disappointment in his private life: his wife has an affair with a jealous young rival, and after 15 years of marriage and two daughters wants a divorce. She offers no explanations as he tries to untie these problems himself. All the moves he makes are the wrong ones. He takes on drinking heavily with students eager to attend his seminar after discovering the class has been canceled. The journalist, once suave and commanding is reduced to silence.

Andrzej Wajda - (1978) Rough Treatment.mkv

General
Container:  	Matroska
Runtime: 	1 h 50 min
Size: 	1.98 GiB
Video
Codec: 	x264
Resolution: 	776x576 
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	2 360 kb/s
BPP: 	0.211
Audio
#1:  	Polish 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/EB68CF8F9999C9C/Andrzej_Wajda_-_(1978)_Rough_Treatment.mkv

Language(s):Polish
Subtitles:English

The post Andrzej Wajda – Bez znieczulenia AKA Rough Treatment (1978) first appeared on Cinema of the World.

Quote:
An old doctor faces cancer. On the set, he meets a monk and a couple, a medical student and a wardrobe mistress. He seeks the help of other doctors, but in the end it is they who help him come to terms with his inevitable death.

Tomasz Berg (Zbigniew Zapasiewicz), an elderly doctor, secures a film set. There he meets a monk (Tadeusz Bradecki), a consultant for a film about St. Bernard of Clairvaux, and a couple of young people, Filip, a medical student (Paweł Okraska) and Hanka, a dresser (Monika Krzywkowska). Berg is facing cancer. The prognosis is bad, but the man tries to seek help from doctors in Paris using his ex-wife’s money (Krystyna Janda). The new people he meets unwittingly become his guides through life and death. With a monk, the doctor discusses the so-called Pascal’s Law and tries to find out how St. Bernard prepared the horse thief from the film they worked on for death. He himself helps the young patient’s mother make provisions for unbearable pain. The woman and her son commit suicide, for which Berg is fired from his job at the hospital. He tries to arrange the trip of a lifetime, but he declines and returns to the hospital as a patient. Young friends from the film set turn out to be empathetic friends and are eager to visit him. They receive from him the keys to his apartment. Berg arranges a lethal supply of morphine for himself, but under the influence of a metaphysical experience, he abandons suicide. His body becomes an object of study for medical students. Philip acquires the first cut of the corpse, hearing Berg’s assurance that it is only a body. Eventually, he reasserts his choice of the medical profession. Krzysztof Zanussi’s psychological drama continues the issues of the cinema of moral concern and intellectual ethical dilemmas related to the medical profession. The film won the Golden Lions and the Best Actor Award for Zbigniew Zapasiewicz, as well as the Journalists’ Award at the 25th Polish Film Festival in Gdynia (2000). It triumphed as the winner of 7 Eagles, Polish Film Academy Awards (2001) for best film, directing, screenplay, music, editing, production and acting, as well as numerous nominations. The theme of the young protagonists was developed by the director in the film “Supplement”. (2002).

Zycie.jako.smiertelna.choroba.przenoszona.droga.plciowa.(Krzysztof.Zanussi.2000).WEB-DL.1080p.mkv

General
Container:  	Matroska
Runtime: 	1 h 37 min
Size: 	2.81 GiB
Video
Codec: 	h264
Resolution: 	1920x1080 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	4 001 kb/s
BPP: 	0.077
Audio
#1:  	Polish 2.0ch AAC LC @ 127 kb/s

https://nitro.download/view/E0EF54C85FD896C/Zycie.jako.smiertelna.choroba.przenoszona.droga.plciowa.(Krzysztof.Zanussi.2000).WEB-DL.1080p.mkv

Language(s):Polish
Subtitles:English, Polish

The post Krzysztof Zanussi – Zycie jako smiertelna choroba przenoszona droga plciowa AKA Life As a Fatal Sexually Transmitted Disease (2000) first appeared on Cinema of the World.

An idealistic scientist is encouraged by his wife to use his good looks to get ahead, but his new job carries with it temptations and traps.

0.98GB | 55mn 16s | 767×464 | mkv

https://nitro.download/view/0D3AA39EFE75B4E/Weekend_Stories_3_-_Deceptive_Charm_(1998)_–_Krzysztof_Zanussi.mkv

Language:Polish
Subtitles:English, Polish (muxed)

The post Krzysztof Zanussi – Urok wszeteczny z cyklu ‘Opowiesci weekendowe’ AKA Weekend Stories: Deceptive Charm (1998) first appeared on Cinema of the World.

867MB | 55 min 58 s | 936×704 | mkv
http://nitroflare.com/view/281A2A3645440B7/Za_sciana_1971.mkv

Language(s):Polish
Subtitles:None

The post Krzysztof Zanussi – Za sciana (1971) first appeared on Cinema of the World.

Quote:
Krzysztof Kieslowski’s Blind Chance is a powerful political fable that provides an early glimpse at the unique style that would later lead to acclaimed international successes like the Three Colors Trilogy and The Double Life of Veronique. As with the later films, Kieslowski displays a deeply erotic, sensual sensibility and a warm humanism that inflects every facet of this complex film. He also shows signs of the spiritual outlook and interest in fate and overlapping chronologies that is especially prevalent in the films he’s best known for. Blind Chance begins with a brief, elliptical precis of the early life of Witek (Boguslaw Linda), starting with a few childhood scenes, his first love, his days in medical school, and finally the death of his father. Many of these earlier memories will later be shown to be false or at least incomplete, hazily remembered scenes from the distant past that have taken on iconic status in Witek’s mind even if the particulars aren’t quite accurate.

But what turns out to be most important is the death of Witek’s father, who had pushed his son into medical school. With his dying words, he tells his son that he is not bound to complete this path, that he need not do what he doesn’t want to. He sets Witek free. This moment is the crucial one for Kieslowski, the moment of seeming freedom, because this film is in fact an examination of just how much freedom we do have as humans, and how much of our lives are determined by forces outside of our control. At this moment, Witek decides to leave Lodz, where he is studying, and catch a train to Warsaw instead, perhaps in search of his old teenage love, or maybe just for a change of scenery to decide where his life should go from here. After this point, the film takes on a three-part structure, with each section subtly altering the events at the train station, causing great shifts in Witek’s life as a result. In the first iteration, he catches the train and falls in with some dedicated Communists who wish to change the current political system from within it. He joins the Party as well and shows promise, but becomes disgusted with this life after his girlfriend, his old love who he’s reunited with, is arrested for dissident activities and rejects him. In the second section, Witek barely misses the train and winds up in a violent altercation with the station guards. He’s sent to a work camp, where he meets some anti-Communists and becomes involved in their movement. In the third and final segment, he simply misses the train, returns to med school, marries a fellow student who he loves, and has children with her.

As always, Kieslowski is a masterful moral filmmaker, but never a moralist, because his work examines morality and the consequences of choices without heavy-handed preaching or over-determined meanings. What’s interesting about Kieslowski’s treatment of fate is that, while Witek’s immediate situation is essentially a matter of chance – whether he catches the train or not – his reactions, choices, and moral fiber remain his own to form in response to his surroundings. Whether he is within the Party, against it, or trying to stay completely neutral in political matters, he tries to stay true to his own conception of the good and moral. What changes, from context to context, are the external pressures on the individual, the information he learns or doesn’t learn about the world around him, and the events which might lead him in one direction or another. Kieslowski seems to be interested in the ways in which, with fate and chance dictating the broad outlines of our lives, we can still be moral and responsible with respect to the everyday decisions and choices we make, and so might help shape our own fates. Though this film is often thought of as three different possible lives based on a single chance event, it’s actually much more complicated than that. Witek can’t choose whether to catch the train or not, but he does make dozens of decisions afterwards, all of which equally help to determine his life, though the repercussions of his choices stretch out in directions he couldn’t possibly predict. If fate and luck (or God, who Witek turns to in one episode but not the other two) hand us the raw materials of a life, it’s up to the individual to craft those materials by making moral choices.

In the context of troubled 1980s Poland, such moral choices were naturally for Kieslowski also a question of Polish politics, and the film was so openly political in its presentation of Communist power abuse that it was suppressed for 6 years. More subversively, the film emphasizes the capacity for choice and individual morality in situations which are in many ways beyond the individual’s control. In that sense, there is a real continuity between this early film and Kieslowski’s later work, which may be more visually flashy but contains the same humanist, morally inclined spirit.

Extras:
Annette Insdorf Introduction (09:58)
This is much too long for an introduction and as it basically examines the entire film from the first scene to the last, you will want to leave it until after you have seen the film. However, as with all Annette Insdorf’s Kieslowski features, it is informative and thorough in examining the film’s themes, structure and influence.

Irena Strazakowska Interview (20:41)
From Kieslowski’s production company, Irena Strazakowska talks in detail about the difficulties the director had complying with travel restrictions and censorship of his work. She offers an interesting insight into a personal side of the director that few people would know of and some thoughts on Blind Chance and other Kieslowski films presented at Cannes.

Agnieska Holland Interview (05:21)
Holland saw a rough-cut of Blind Chance early on which she felt didn’t work at all. Incredibly Kieslowski re-shot most of the film in a matter of a few weeks to obtain the present version.

Workshop Exercises (12:05)
Directed not by Kieslowski, but by a colleague at the Documentary Film Studio, Marcel Lozinski, and photographed by regular Kieslowski cinematographer Jacek Petrycki, Workshop Exercises is a clever little film playing with themes that would be familiar to anyone who has seen Kieslowski’s documentary and film work – the nature of accurately capturing reality on film and how it can be manipulated. On the surface a vox-pop asking people on the street what they think of the youth of today, the film edits and overdubs to present different versions of the same material.

http://nitroflare.com/view/3095C1EF264FEC7/Krzysztof_Kieslowski_-_%281987%29_Blind_Chance.mkv
https://nitro.download/view/64FD8171EE7B74F/Blind_chance_Extras.rar

Language(s):Polish
Subtitles:English

The post Krzysztof Kieslowski – Przypadek AKA Blind Chance [+Extras] (1987) first appeared on Cinema of the World.