In the film that spun off from this episode — “A Short Film About Love” — Magda responds to Tomek’s self harm with a period of self reflection, followed by her own romantic feelings for him. There is a little evidence for this in the episode, enough for the actors to
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One of the interesting similarities between Montaigne, Shakespeare and Tolstoy is that all of them have flashes of romanticism — especially when speaking of youth — but then deeply unhappy descriptions of marriages, both in stories and personal reflections. Montaigne was often reticent to admit to having any romantic feelings at all.
Recently I did some work on my Stendhal project, pulled all the pieces together and wrote a front-piece connecting essay. I liked how that all turned out and mused elsewhere on this site that maybe I could go back to Stendhal and complete a book project on “On Love.” After
Magda seems to sense that something is wrong after Tomek doesn’t call. The doorbell rings and she goes to the door. It’s Art Man again, but she says “I’m not here,” and oddly enough, he takes that declaration at face value and we don’t see him
Before I move on to the next scene, I want to take a few steps back to reinforce something in the last two segments of Episode 6 that deserves further elaboration — Kieslowski’s focus on hands. In the course of their date, the encounter in Magda’s apartment and the
A standard trope of American adolescent sex comedies is the virginal male character who eagerly seeks out sexual situations, but once he actually attain it, he’s left clueless how to act. Such situations are commonly diffused with comedy in American films. Kieslowski has this very strange approach to uncomfortable