{"id":20036,"date":"2026-03-10T21:28:03","date_gmt":"2026-03-10T20:28:03","guid":{"rendered":"https:\/\/instytutpolski.pl\/newyork\/?p=20036"},"modified":"2026-04-20T21:38:40","modified_gmt":"2026-04-20T19:38:40","slug":"moral-mazes-of-krzysztof-kieslowski","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/","title":{"rendered":"Moral Mazes of Krzysztof Kie\u015blowski"},"content":{"rendered":"\n

Friday, April 3 \u2014 Sunday, May 3, 2026
Metrograph<\/a>
7 Ludlow St, New York, NY 10002<\/strong>
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News of the death of Krzysztof Kie\u015blowski in 1996 at only 54 years of age came only a scant few years after the filmmaker had been discovered by audiences and championed by critics far afield of his native Poland, where he\u2019d first distinguished himself in the early 1970s with a series of films in which elements of documentary and fiction filmmaking freely intermingled. At odds with his homeland\u2019s repressive communist regime up to its final dissolution, Kie\u015blowski seemed poised to emerge as an equally trenchant critic of the capitalist free-for-all that followed\u2014certainly White, an entry in his celebrated Three Colors trilogy, a contemplation of the emerging united Europe, suggests as much\u2014but what he did manage to accomplish in the three decades of his working life is more than enough to assure him a place among the towering figures of late 20th-century European cinema. Demotic but never pandering, drawn like a moth to flame towards the impossible ethical dilemma\u2014most notably in his 10-episode chef d\u2019oeuvre, Dekalog\u2014and committed to seeing the contemporary world with total lucidity, Kie\u015blowski\u2019s absence has been dearly felt these last 30 years, though through his films he will never really leave us.<\/p>\n\n\n\n

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Three Colors: Blue<\/strong><\/a><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski \/ 1993 \/ 94min \/ DCP<\/p>\n\n\n\n

Friday, April 3 at 6:25 PM
Saturday, April 4 at 4:30 PM
Thursday, April 9 at 4:20<\/strong> PM<\/strong><\/p>\n\n\n\n

The first entry in Kie\u015blowski\u2019s \u201cThree Colors\u201d trilogy is a film as somber as its name implies, a cool, cobalt-shaded study in loss and abjection starring Juliette Binoche (who won a Best Actress prize at Cannes for her stinging, stricken performance) as a recent widow who has shut herself off from life in response to her still-raw emotional devastation, only to be pulled back towards the perils of fellow-feeling by a former lover and a budding friendship with a neighbor. <\/p>\n<\/div>\n<\/div>\n\n\n\n

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Three Colors: White<\/strong><\/a><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski \/ 1994 \/ 92min \/ DCP<\/p>\n\n\n\n

Friday, April 3 at 8:30 PM
Saturday, April 4 at 6:30<\/strong> PM
Thursday, April 9 at 6:15<\/strong> PM<\/strong><\/p>\n\n\n\n

Literally and figuratively the lightest of Kieslowski\u2019s \u201cThree Colors\u201d trilogy, White stars Zbigniew Zamachowski as a Polish immigrant in Paris, who hires a fellow expatriate to smuggle him back home to his native Warsaw after French wife Julie Delpy divorces him and frames him up for the incineration of his own hair salon. A wicked comedy about Eastern and Western Europe, men and women, sex and love, affection and acrimony\u2026 and also an incisive allegorical commentary on the galloping corruption of a post-communist Poland still struggling to find its foothold in the European Union.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Three Colors: Red<\/strong><\/a><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski \/ 1994 \/ 99min \/ DCP<\/p>\n\n\n\n

Saturday, April 4 at 8:30 PM
Sunday, April 5 at 9:40<\/strong> PM<\/strong><\/p>\n\n\n\n

The final installment in Kie\u015blowki\u2019s trilogy and indeed his final feature, a magisterial exploration of the operations of chance and fate that earned Kie\u015blowski an Academy Award nomination for Best Director, stars the luminous Ir\u00e8ne Jacob as a University of Geneva student and sometimes runway model whose chance encounter with a misanthropic retired judge (Jean-Louis Trintignant), now devoting his idle hours to eavesdropping on his neighbors, is the first of a series of unexpected encounters and connections that brings the triptych full circle. <\/p>\n<\/div>\n<\/div>\n\n\n\n

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Dekalog: Episodes 1-4<\/strong><\/a><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski \/ 2026 \/ 228min \/ DCP<\/p>\n\n\n\n

Sunday, April 12 at 1:10 PM<\/strong><\/p>\n\n\n\n

Introduction by Annette Insdorf, Columbia University Film Professor and author of \u201cDouble Lives, Second Chances: The Cinema of Krzysztof Kie\u015blowski.”<\/p>\n\n\n\n

The first four episodes of Kie\u015blowski and co-writer Krzysztof Piesiewicz\u2019s serial masterwork. Each episode inspired by one of the Ten Commandments, focused on a resident or residents of a single late-Communist era housing complex, and exploring the difficulties that arise in following ancient proscriptions in a complex contemporary world.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Dekalog: Episodes 5-7<\/strong><\/a><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski \/ 1990 \/ 176min \/ DCP<\/p>\n\n\n\n

Sunday, April 12 at 5:30 PM<\/strong><\/p>\n\n\n\n

The fifth and sixth episodes\u2014titled, respectively, Thou Shall Not Kill, later expanded on in Kie\u015blowski\u2019s A Short Film About Killing, and Thou Shall Not Commit Adultery, expanded as A Short Film About Love\u2014are perhaps the most celebrated entries in the Dekalog. No less compelling, and ethically knotty, however, is the seventh chapter, Thou Shalt Not Steal, in which the disputed \u201cproperty\u201d in question is a six-year-old girl caught in a tug-of-war custody battle between her grandmother and mother, which soon crosses over the line of legality.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Dekalog: Episodes 8-10<\/strong><\/a><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski \/ 1990 \/ 175min \/ DCP<\/p>\n\n\n\n

Sunday, April 12 at 9:00 PM<\/strong><\/p>\n\n\n\n

Monumental serial counts down the remaining Commandments with episodes Thou Shalt Not Bear False Witness, Thou Shalt Not Covet Thy Neighbor\u2019s Wife, and Thou Shalt Not Covet Thy Neighbors Goods. In the first story, an ethics professor reflects on the unexpected consequences of failing to help a Jewish girl during the war. In the tragicomic \u2026Covet Thy Neighbor\u2019s Wife, an impotent middle-aged man urges his wife to take a lover and bitterly regrets it. In the final chapter, two sons inherit their late father\u2019s valuable stamp collection and become dangerously obsessed with it. Together they form the capstone to one of cinema\u2019s most majestic works, despite its television origins.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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The Double Life of Veronique<\/strong><\/a><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski \/ 1991 \/ 98min \/ 4K DCP<\/p>\n\n\n\n

Friday, April 17 at 4:15 PM<\/strong>
Saturday, April 18 at 7:50 PM<\/strong>
Saturday, April 25 at 7:45 PM<\/strong><\/p>\n\n\n\n

Saturday, April 18 Introduction by Richard Pe\u00f1a, Professor Emeritus, Columbia University, and Director Emeritus, NYFF<\/p>\n\n\n\n

The film that introduced Kie\u015blowski to an international audience, metaphysical mystery The Double Life of V\u00e9ronique<\/em> features Ir\u00e8ne Jacob in a double role, playing Weronika, a soprano in a Polish choir, and V\u00e9ronique, a French music teacher. The two doppelgangers meet only once yet share a deep synchronicity.
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A Short Film About Killing<\/strong><\/a><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski \/ 1988 \/ 85min \/ DCP<\/p>\n\n\n\n

Friday, April 17 at 9:10 PM
Wednesday, April 22 at 2:00 PM<\/strong><\/p>\n\n\n\n

A Short Film About Killing <\/em>stars Miros\u0142aw Baka as Jacek, an antisocial and quite possibly psychotic drifter newly arrived in Warsaw whose taste for wanton cruelty finds expression in the brutal and senseless murder of a middle-aged taxicab driver, and puts Jacek on a trajectory towards death row. Released as a spirited public debate concerning capital punishment was ongoing in Poland, Kie\u015blowski\u2019s hard-to-shake film, unsparing in its depiction of violence, is a full-throated indictment of state-sponsored murder.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Blind Chance<\/strong><\/a><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski \/ 1987 \/ 114min \/ DCP<\/p>\n\n\n\n

Saturday, April 18 at 12:00 PM<\/strong><\/p>\n\n\n\n

Uncertain as to where his future lies after his father\u2019s death robs him of his sense of vocation, medical student Witek (Bogus\u0142aw Linda) impulsively decides to catch a train to Warsaw. Kie\u015blowski\u2019s triptych film shows three possible outcomes branching off from this pivotal moment, with our protagonist alternately joining the Communist Party, joining the anti-Communist resistance, or resuming his studies with renewed vigor, and facing further adversities in every case. Suppressed by Polish authorities on its completion in 1981, Blind Chance<\/em> would only surface six years later, in a compromised form, in the Un Certain Regard section of the Cannes Film Festival.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Documentary Shorts by Krzysztof Kieslowski<\/strong><\/a><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski \/ 1979 \/ 87min \/ DCP<\/p>\n\n\n\n

Thursday, April 30 at 8:00 PM<\/strong><\/p>\n\n\n\n

A program of Kie\u015blowski\u2019s short nonfiction films, where the same dedication as found in his fiction work. Includes The Office<\/em>, an early study in bureaucratic torment produced while the director was still at \u0141\u00f3d\u017a Film School; I Was a Soldier<\/em>, a platform for blind veterans to recall their experiences and recount their dreams; From a Night Porter\u2019s Point of View<\/em>, a 17-minute interview with a highly opinionated minor security functionary who revels in the small portion of authority he enjoys; Hospital<\/em>, an immersion into 24 hours in the life in an overcrowded and underfunded Warsaw emergency room; Talking Heads<\/em>, in which 79 interviewees from various walks of life and of all ages answer same questions; and Railway Station<\/em>, trying to photograph \u2018lost\u2019 people\u201d at the Warsaw Central Railway Station.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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No End<\/strong><\/a><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski \/ 1985 \/ 107min \/ Digital<\/p>\n\n\n\n

Sunday, April 19 at 2:15 PM<\/strong><\/p>\n\n\n\n

Introduction by Rafa\u0142 Syska, film historian, Professor at Jagiellonian University in Krak\u00f3w, museum curator and former Director of the National Centre for Film Culture in \u0141\u00f3d\u017a.<\/p>\n\n\n\n

Kie\u015blowski\u2019s first collaboration with both composer Zbigniew Preisner and co-screenwriter Krzysztof Piesiewicz was made in the immediate aftermath of the repression of Lech Wa\u0142\u0119sa\u2019s Solidarity trade union via martial law in 1981. A keeningly sorrowful work, perhaps Kie\u015blowski\u2019s most overtly political film, No End<\/em> was subject on its release to attacks from the Communist authorities, the Catholic church, and Solidarity representatives.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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A Short Film About Love<\/strong><\/a><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski \/ 1988 \/ 87min \/ DCP<\/p>\n\n\n\n

Sunday, April 19 at 5:10 PM<\/strong>
Thursday, April 23 at 2:00 PM<\/strong><\/p>\n\n\n\n

Tomek (Olaf Lubaszenko), a 19-year-old postal clerk temporarily staying in his godmother\u2019s apartment in a Warsaw housing project, spends his idle hours brushing up on his Portuguese and peering through a telescope at Magda (Gra\u017cyna Szapo\u0142owska), a beautiful older woman in a neighboring building, but after a while voyeurism alone isn\u2019t enough, and Tomek begins meddling in the affairs of the object of his obsession with consequences that will put both in peril. <\/p>\n<\/div>\n<\/div>\n\n\n\n

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The Scar<\/strong><\/a><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski \/ 1976 \/ 106min \/ Digital<\/p>\n\n\n\n

Saturday, April 25 at 5:40 PM<\/strong><\/p>\n\n\n\n

Starry-eyed idealism runs smack into a wall of practical complexities and human stubbornness in Kie\u015blowski\u2019s first film to receive a direct to cinema release, in which a well-liked Party factotum,Stefan (Franciszek Pieczka) returns to a provincial town to oversee construction of a chemical plant he hopes will become a worker\u2019s paradise, but his vision is challenged by locals who resent the project and its environmental impact. A dive into the thickets of Polish bureaucracy in the Communist era, lent an unmistakable veracity thanks to the director\u2019s apprenticeship in documentary.<\/p>\n\n\n\n

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Camera Buff<\/a><\/strong><\/h4>\n\n\n\n

Krzysztof Kie\u015blowski 1979 \/ 112min \/ DCP<\/p>\n\n\n\n

Friday, May 1 at 7:00 PM<\/strong><\/p>\n\n\n\n

The film that first established Kieslowski\u2019s reputation outside of his native Poland, Camera Buff begins with factory worker and young father Filip (the prodigiously gifted Jerzy Stuhr) bringing home an 8mm movie camera with no higher ambition than that of recording his daughter\u2019s first steps\u2026 but in short time, Filip has developed into a prize-winning amateur filmmaker, and his newfound passion is undermining his relationship with his wife and nettling his superiors. A deeply personal work that ruminates on the knotty relationship between the real world and its filmed double, and the difficulty of maintaining an integrity of vision when there are forces of authority demanding final cut.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Co-presented with the Polish Cultural Institute, New York<\/em>.<\/p>\n\n\n\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

Friday, April 3 \u2014 Sunday, May 3, 2026Metrograph7 Ludlow St, New York, NY 10002 News of the death of Krzysztof Kie\u015blowski in 1996 at only 54 years of age came only a scant few years after the filmmaker had been discovered by audiences and championed by critics far afield of his native Poland, where he\u2019d […]<\/p>\n","protected":false},"author":202,"featured_media":20039,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[5,9],"tags":[],"class_list":["post-20036","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events","category-film"],"yoast_head":"\nMoral Mazes of Krzysztof Kie\u015blowski - Instytut Polski w Nowym Jorku<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Moral Mazes of Krzysztof Kie\u015blowski - Instytut Polski w Nowym Jorku\" \/>\n<meta property=\"og:description\" content=\"Friday, April 3 \u2014 Sunday, May 3, 2026Metrograph7 Ludlow St, New York, NY 10002 News of the death of Krzysztof Kie\u015blowski in 1996 at only 54 years of age came only a scant few years after the filmmaker had been discovered by audiences and championed by critics far afield of his native Poland, where he\u2019d […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/\" \/>\n<meta property=\"og:site_name\" content=\"Instytut Polski w Nowym Jorku\" \/>\n<meta property=\"article:published_time\" content=\"2026-03-10T20:28:03+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-04-20T19:38:40+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"1600\" \/>\n\t<meta property=\"og:image:height\" content=\"900\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"stypulkowskaa\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Napisane przez\" \/>\n\t<meta name=\"twitter:data1\" content=\"stypulkowskaa\" \/>\n\t<meta name=\"twitter:label2\" content=\"Szacowany czas czytania\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minut\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"event\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/\",\"name\":\"Moral Mazes of Krzysztof Kie\u015blowski\",\"isPartOf\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/#primaryimage\"},\"image\":[\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398.jpeg\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398-300x169.jpeg\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398-1024x576.jpeg\",\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398.jpeg\"],\"thumbnailUrl\":\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398.jpeg\",\"datePublished\":\"2026-03-10T20:28:03+02:00\",\"dateModified\":\"2026-04-20T19:38:40+02:00\",\"author\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/c732b2695ee92026d080eec35471c7f1\"},\"breadcrumb\":{\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/#breadcrumb\"},\"inLanguage\":\"pl-PL\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/\"]}],\"@context\":\"https:\/\/schema.org\",\"startDate\":\"2026-04-03\",\"endDate\":\"2026-05-03\",\"eventStatus\":\"EventScheduled\",\"eventAttendanceMode\":\"OfflineEventAttendanceMode\",\"location\":{\"@type\":\"place\",\"name\":\"\",\"address\":\"\",\"geo\":{\"@type\":\"GeoCoordinates\",\"latitude\":\"\",\"longitude\":\"\"}},\"description\":\"Friday, April 3 \u2014 Sunday, May 3, 2026Metrograph7 Ludlow St, New York, NY 10002\\nNews of the death of Krzysztof Kie\u015blowski in 1996 at only 54 years of age came only a scant few years after the filmmaker had been discovered by audiences and championed by critics far afield of his native Poland, where he\u2019d first distinguished himself in the early 1970s with a series of films in which elements of documentary and fiction filmmaking freely intermingled. At odds with his homeland\u2019s repressive communist regime up to its final dissolution, Kie\u015blowski seemed poised to emerge as an equally trenchant critic of the capitalist free-for-all that followed\u2014certainly White, an entry in his celebrated Three Colors trilogy, a contemplation of the emerging united Europe, suggests as much\u2014but what he did manage to accomplish in the three decades of his working life is more than enough to assure him a place among the towering figures of late 20th-century European cinema. Demotic but never pandering, drawn like a moth to flame towards the impossible ethical dilemma\u2014most notably in his 10-episode chef d\u2019oeuvre, Dekalog\u2014and committed to seeing the contemporary world with total lucidity, Kie\u015blowski\u2019s absence has been dearly felt these last 30 years, though through his films he will never really leave us.\\nThree Colors: Blue\\nKrzysztof Kie\u015blowski \/ 1993 \/ 94min \/ DCP\\nFriday, April 3 at 6:25 PMSaturday, April 4 at 4:30 PMThursday, April 9 at 4:20 PM\\nThe first entry in Kie\u015blowski\u2019s \u201cThree Colors\u201d trilogy is a film as somber as its name implies, a cool, cobalt-shaded study in loss and abjection starring Juliette Binoche (who won a Best Actress prize at Cannes for her stinging, stricken performance) as a recent widow who has shut herself off from life in response to her still-raw emotional devastation, only to be pulled back towards the perils of fellow-feeling by a former lover and a budding friendship with a neighbor. \\nThree Colors: White\\nKrzysztof Kie\u015blowski \/ 1994 \/ 92min \/ DCP\\nFriday, April 3 at 8:30 PMSaturday, April 4 at 6:30 PMThursday, April 9 at 6:15 PM\\nLiterally and figuratively the lightest of Kieslowski\u2019s \u201cThree Colors\u201d trilogy, White stars Zbigniew Zamachowski as a Polish immigrant in Paris, who hires a fellow expatriate to smuggle him back home to his native Warsaw after French wife Julie Delpy divorces him and frames him up for the incineration of his own hair salon. A wicked comedy about Eastern and Western Europe, men and women, sex and love, affection and acrimony\u2026 and also an incisive allegorical commentary on the galloping corruption of a post-communist Poland still struggling to find its foothold in the European Union.\\nThree Colors: Red\\nKrzysztof Kie\u015blowski \/ 1994 \/ 99min \/ DCP\\nSaturday, April 4 at 8:30 PMSunday, April 5 at 9:40 PM\\nThe final installment in Kie\u015blowki\u2019s trilogy and indeed his final feature, a magisterial exploration of the operations of chance and fate that earned Kie\u015blowski an Academy Award nomination for Best Director, stars the luminous Ir\u00e8ne Jacob as a University of Geneva student and sometimes runway model whose chance encounter with a misanthropic retired judge (Jean-Louis Trintignant), now devoting his idle hours to eavesdropping on his neighbors, is the first of a series of unexpected encounters and connections that brings the triptych full circle. \\nDekalog: Episodes 1-4\\nKrzysztof Kie\u015blowski \/ 2026 \/ 228min \/ DCP\\nSunday, April 12 at 1:10 PM\\nIntroduction by Annette Insdorf, Columbia University Film Professor and author of \u201cDouble Lives, Second Chances: The Cinema of Krzysztof Kie\u015blowski.\\\"\\nThe first four episodes of Kie\u015blowski and co-writer Krzysztof Piesiewicz\u2019s serial masterwork. Each episode inspired by one of the Ten Commandments, focused on a resident or residents of a single late-Communist era housing complex, and exploring the difficulties that arise in following ancient proscriptions in a complex contemporary world.\\nDekalog: Episodes 5-7\\nKrzysztof Kie\u015blowski \/ 1990 \/ 176min \/ DCP\\nSunday, April 12 at 5:30 PM\\nThe fifth and sixth episodes\u2014titled, respectively, Thou Shall Not Kill, later expanded on in Kie\u015blowski\u2019s A Short Film About Killing, and Thou Shall Not Commit Adultery, expanded as A Short Film About Love\u2014are perhaps the most celebrated entries in the Dekalog. No less compelling, and ethically knotty, however, is the seventh chapter, Thou Shalt Not Steal, in which the disputed \u201cproperty\u201d in question is a six-year-old girl caught in a tug-of-war custody battle between her grandmother and mother, which soon crosses over the line of legality.\\nDekalog: Episodes 8-10\\nKrzysztof Kie\u015blowski \/ 1990 \/ 175min \/ DCP\\nSunday, April 12 at 9:00 PM\\nMonumental serial counts down the remaining Commandments with episodes Thou Shalt Not Bear False Witness, Thou Shalt Not Covet Thy Neighbor\u2019s Wife, and Thou Shalt Not Covet Thy Neighbors Goods. In the first story, an ethics professor reflects on the unexpected consequences of failing to help a Jewish girl during the war. In the tragicomic \u2026Covet Thy Neighbor\u2019s Wife, an impotent middle-aged man urges his wife to take a lover and bitterly regrets it. In the final chapter, two sons inherit their late father\u2019s valuable stamp collection and become dangerously obsessed with it. Together they form the capstone to one of cinema\u2019s most majestic works, despite its television origins.\\nThe Double Life of Veronique\\nKrzysztof Kie\u015blowski \/ 1991 \/ 98min \/ 4K DCP\\nFriday, April 17 at 4:15 PMSaturday, April 18 at 7:50 PMSaturday, April 25 at 7:45 PM\\nSaturday, April 18 Introduction by Richard Pe\u00f1a, Professor Emeritus, Columbia University, and Director Emeritus, NYFF\\nThe film that introduced Kie\u015blowski to an international audience, metaphysical mystery The Double Life of V\u00e9ronique features Ir\u00e8ne Jacob in a double role, playing Weronika, a soprano in a Polish choir, and V\u00e9ronique, a French music teacher. The two doppelgangers meet only once yet share a deep synchronicity.\\nA Short Film About Killing\\nKrzysztof Kie\u015blowski \/ 1988 \/ 85min \/ DCP\\nFriday, April 17 at 9:10 PMWednesday, April 22 at 2:00 PM\\nA Short Film About Killing stars Miros\u0142aw Baka as Jacek, an antisocial and quite possibly psychotic drifter newly arrived in Warsaw whose taste for wanton cruelty finds expression in the brutal and senseless murder of a middle-aged taxicab driver, and puts Jacek on a trajectory towards death row. Released as a spirited public debate concerning capital punishment was ongoing in Poland, Kie\u015blowski\u2019s hard-to-shake film, unsparing in its depiction of violence, is a full-throated indictment of state-sponsored murder.\\nBlind Chance\\nKrzysztof Kie\u015blowski \/ 1987 \/ 114min \/ DCP\\nSaturday, April 18 at 12:00 PM\\nUncertain as to where his future lies after his father\u2019s death robs him of his sense of vocation, medical student Witek (Bogus\u0142aw Linda) impulsively decides to catch a train to Warsaw. Kie\u015blowski\u2019s triptych film shows three possible outcomes branching off from this pivotal moment, with our protagonist alternately joining the Communist Party, joining the anti-Communist resistance, or resuming his studies with renewed vigor, and facing further adversities in every case. Suppressed by Polish authorities on its completion in 1981, Blind Chance would only surface six years later, in a compromised form, in the Un Certain Regard section of the Cannes Film Festival.\\nDocumentary Shorts by Krzysztof Kieslowski\\nKrzysztof Kie\u015blowski \/ 1979 \/ 87min \/ DCP\\nThursday, April 30 at 8:00 PM\\nA program of Kie\u015blowski\u2019s short nonfiction films, where the same dedication as found in his fiction work. Includes The Office, an early study in bureaucratic torment produced while the director was still at \u0141\u00f3d\u017a Film School; I Was a Soldier, a platform for blind veterans to recall their experiences and recount their dreams; From a Night Porter\u2019s Point of View, a 17-minute interview with a highly opinionated minor security functionary who revels in the small portion of authority he enjoys; Hospital, an immersion into 24 hours in the life in an overcrowded and underfunded Warsaw emergency room; Talking Heads, in which 79 interviewees from various walks of life and of all ages answer same questions; and Railway Station, trying to photograph \u2018lost\u2019 people\u201d at the Warsaw Central Railway Station.\\nNo End\\nKrzysztof Kie\u015blowski \/ 1985 \/ 107min \/ Digital\\nSunday, April 19 at 2:15 PM\\nIntroduction by Rafa\u0142 Syska, film historian, Professor at Jagiellonian University in Krak\u00f3w, museum curator and former Director of the National Centre for Film Culture in \u0141\u00f3d\u017a.\\nKie\u015blowski\u2019s first collaboration with both composer Zbigniew Preisner and co-screenwriter Krzysztof Piesiewicz was made in the immediate aftermath of the repression of Lech Wa\u0142\u0119sa\u2019s Solidarity trade union via martial law in 1981. A keeningly sorrowful work, perhaps Kie\u015blowski\u2019s most overtly political film, No End was subject on its release to attacks from the Communist authorities, the Catholic church, and Solidarity representatives.\\nA Short Film About Love\\nKrzysztof Kie\u015blowski \/ 1988 \/ 87min \/ DCP\\nSunday, April 19 at 5:10 PMThursday, April 23 at 2:00 PM\\nTomek (Olaf Lubaszenko), a 19-year-old postal clerk temporarily staying in his godmother\u2019s apartment in a Warsaw housing project, spends his idle hours brushing up on his Portuguese and peering through a telescope at Magda (Gra\u017cyna Szapo\u0142owska), a beautiful older woman in a neighboring building, but after a while voyeurism alone isn\u2019t enough, and Tomek begins meddling in the affairs of the object of his obsession with consequences that will put both in peril. \\nThe Scar\\nKrzysztof Kie\u015blowski \/ 1976 \/ 106min \/ Digital\\nSaturday, April 25 at 5:40 PM\\nStarry-eyed idealism runs smack into a wall of practical complexities and human stubbornness in Kie\u015blowski\u2019s first film to receive a direct to cinema release, in which a well-liked Party factotum,Stefan (Franciszek Pieczka) returns to a provincial town to oversee construction of a chemical plant he hopes will become a worker\u2019s paradise, but his vision is challenged by locals who resent the project and its environmental impact. A dive into the thickets of Polish bureaucracy in the Communist era, lent an unmistakable veracity thanks to the director\u2019s apprenticeship in documentary.\\nCamera Buff\\nKrzysztof Kie\u015blowski 1979 \/ 112min \/ DCP\\nFriday, May 1 at 7:00 PM\\nThe film that first established Kieslowski\u2019s reputation outside of his native Poland, Camera Buff begins with factory worker and young father Filip (the prodigiously gifted Jerzy Stuhr) bringing home an 8mm movie camera with no higher ambition than that of recording his daughter\u2019s first steps\u2026 but in short time, Filip has developed into a prize-winning amateur filmmaker, and his newfound passion is undermining his relationship with his wife and nettling his superiors. A deeply personal work that ruminates on the knotty relationship between the real world and its filmed double, and the difficulty of maintaining an integrity of vision when there are forces of authority demanding final cut.\\nCo-presented with the Polish Cultural Institute, New York.\"},{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/#primaryimage\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398.jpeg\",\"contentUrl\":\"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398.jpeg\",\"width\":1600,\"height\":900},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/instytutpolski.pl\/newyork\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Moral Mazes of Krzysztof Kie\u015blowski\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#website\",\"url\":\"https:\/\/instytutpolski.pl\/newyork\/\",\"name\":\"Instytut Polski w Nowym Jorku\",\"description\":\"Instytuty Polskie\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/instytutpolski.pl\/newyork\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"pl-PL\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/c732b2695ee92026d080eec35471c7f1\",\"name\":\"stypulkowskaa\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/a29bb1802c91e057084d5d112dd59dc4?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/a29bb1802c91e057084d5d112dd59dc4?s=96&d=mm&r=g\",\"caption\":\"stypulkowskaa\"},\"url\":\"https:\/\/instytutpolski.pl\/newyork\/author\/stypulkowskaa-2\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Moral Mazes of Krzysztof Kie\u015blowski - Instytut Polski w Nowym Jorku","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/","og_locale":"pl_PL","og_type":"article","og_title":"Moral Mazes of Krzysztof Kie\u015blowski - Instytut Polski w Nowym Jorku","og_description":"Friday, April 3 \u2014 Sunday, May 3, 2026Metrograph7 Ludlow St, New York, NY 10002 News of the death of Krzysztof Kie\u015blowski in 1996 at only 54 years of age came only a scant few years after the filmmaker had been discovered by audiences and championed by critics far afield of his native Poland, where he\u2019d […]","og_url":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/","og_site_name":"Instytut Polski w Nowym Jorku","article_published_time":"2026-03-10T20:28:03+00:00","article_modified_time":"2026-04-20T19:38:40+00:00","og_image":[{"width":1600,"height":900,"url":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398.jpeg","type":"image\/jpeg"}],"author":"stypulkowskaa","twitter_card":"summary_large_image","twitter_misc":{"Napisane przez":"stypulkowskaa","Szacowany czas czytania":"14 minut"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"event","@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/","url":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/","name":"Moral Mazes of Krzysztof Kie\u015blowski","isPartOf":{"@id":"https:\/\/instytutpolski.pl\/newyork\/#website"},"primaryImageOfPage":{"@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/#primaryimage"},"image":["https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398.jpeg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398-300x169.jpeg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398-1024x576.jpeg","https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398.jpeg"],"thumbnailUrl":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398.jpeg","datePublished":"2026-03-10T20:28:03+02:00","dateModified":"2026-04-20T19:38:40+02:00","author":{"@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/c732b2695ee92026d080eec35471c7f1"},"breadcrumb":{"@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/#breadcrumb"},"inLanguage":"pl-PL","potentialAction":[{"@type":"ReadAction","target":["https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/"]}],"@context":"https:\/\/schema.org","startDate":"2026-04-03","endDate":"2026-05-03","eventStatus":"EventScheduled","eventAttendanceMode":"OfflineEventAttendanceMode","location":{"@type":"place","name":"","address":"","geo":{"@type":"GeoCoordinates","latitude":"","longitude":""}},"description":"Friday, April 3 \u2014 Sunday, May 3, 2026Metrograph7 Ludlow St, New York, NY 10002\nNews of the death of Krzysztof Kie\u015blowski in 1996 at only 54 years of age came only a scant few years after the filmmaker had been discovered by audiences and championed by critics far afield of his native Poland, where he\u2019d first distinguished himself in the early 1970s with a series of films in which elements of documentary and fiction filmmaking freely intermingled. At odds with his homeland\u2019s repressive communist regime up to its final dissolution, Kie\u015blowski seemed poised to emerge as an equally trenchant critic of the capitalist free-for-all that followed\u2014certainly White, an entry in his celebrated Three Colors trilogy, a contemplation of the emerging united Europe, suggests as much\u2014but what he did manage to accomplish in the three decades of his working life is more than enough to assure him a place among the towering figures of late 20th-century European cinema. Demotic but never pandering, drawn like a moth to flame towards the impossible ethical dilemma\u2014most notably in his 10-episode chef d\u2019oeuvre, Dekalog\u2014and committed to seeing the contemporary world with total lucidity, Kie\u015blowski\u2019s absence has been dearly felt these last 30 years, though through his films he will never really leave us.\nThree Colors: Blue\nKrzysztof Kie\u015blowski \/ 1993 \/ 94min \/ DCP\nFriday, April 3 at 6:25 PMSaturday, April 4 at 4:30 PMThursday, April 9 at 4:20 PM\nThe first entry in Kie\u015blowski\u2019s \u201cThree Colors\u201d trilogy is a film as somber as its name implies, a cool, cobalt-shaded study in loss and abjection starring Juliette Binoche (who won a Best Actress prize at Cannes for her stinging, stricken performance) as a recent widow who has shut herself off from life in response to her still-raw emotional devastation, only to be pulled back towards the perils of fellow-feeling by a former lover and a budding friendship with a neighbor. \nThree Colors: White\nKrzysztof Kie\u015blowski \/ 1994 \/ 92min \/ DCP\nFriday, April 3 at 8:30 PMSaturday, April 4 at 6:30 PMThursday, April 9 at 6:15 PM\nLiterally and figuratively the lightest of Kieslowski\u2019s \u201cThree Colors\u201d trilogy, White stars Zbigniew Zamachowski as a Polish immigrant in Paris, who hires a fellow expatriate to smuggle him back home to his native Warsaw after French wife Julie Delpy divorces him and frames him up for the incineration of his own hair salon. A wicked comedy about Eastern and Western Europe, men and women, sex and love, affection and acrimony\u2026 and also an incisive allegorical commentary on the galloping corruption of a post-communist Poland still struggling to find its foothold in the European Union.\nThree Colors: Red\nKrzysztof Kie\u015blowski \/ 1994 \/ 99min \/ DCP\nSaturday, April 4 at 8:30 PMSunday, April 5 at 9:40 PM\nThe final installment in Kie\u015blowki\u2019s trilogy and indeed his final feature, a magisterial exploration of the operations of chance and fate that earned Kie\u015blowski an Academy Award nomination for Best Director, stars the luminous Ir\u00e8ne Jacob as a University of Geneva student and sometimes runway model whose chance encounter with a misanthropic retired judge (Jean-Louis Trintignant), now devoting his idle hours to eavesdropping on his neighbors, is the first of a series of unexpected encounters and connections that brings the triptych full circle. \nDekalog: Episodes 1-4\nKrzysztof Kie\u015blowski \/ 2026 \/ 228min \/ DCP\nSunday, April 12 at 1:10 PM\nIntroduction by Annette Insdorf, Columbia University Film Professor and author of \u201cDouble Lives, Second Chances: The Cinema of Krzysztof Kie\u015blowski.\"\nThe first four episodes of Kie\u015blowski and co-writer Krzysztof Piesiewicz\u2019s serial masterwork. Each episode inspired by one of the Ten Commandments, focused on a resident or residents of a single late-Communist era housing complex, and exploring the difficulties that arise in following ancient proscriptions in a complex contemporary world.\nDekalog: Episodes 5-7\nKrzysztof Kie\u015blowski \/ 1990 \/ 176min \/ DCP\nSunday, April 12 at 5:30 PM\nThe fifth and sixth episodes\u2014titled, respectively, Thou Shall Not Kill, later expanded on in Kie\u015blowski\u2019s A Short Film About Killing, and Thou Shall Not Commit Adultery, expanded as A Short Film About Love\u2014are perhaps the most celebrated entries in the Dekalog. No less compelling, and ethically knotty, however, is the seventh chapter, Thou Shalt Not Steal, in which the disputed \u201cproperty\u201d in question is a six-year-old girl caught in a tug-of-war custody battle between her grandmother and mother, which soon crosses over the line of legality.\nDekalog: Episodes 8-10\nKrzysztof Kie\u015blowski \/ 1990 \/ 175min \/ DCP\nSunday, April 12 at 9:00 PM\nMonumental serial counts down the remaining Commandments with episodes Thou Shalt Not Bear False Witness, Thou Shalt Not Covet Thy Neighbor\u2019s Wife, and Thou Shalt Not Covet Thy Neighbors Goods. In the first story, an ethics professor reflects on the unexpected consequences of failing to help a Jewish girl during the war. In the tragicomic \u2026Covet Thy Neighbor\u2019s Wife, an impotent middle-aged man urges his wife to take a lover and bitterly regrets it. In the final chapter, two sons inherit their late father\u2019s valuable stamp collection and become dangerously obsessed with it. Together they form the capstone to one of cinema\u2019s most majestic works, despite its television origins.\nThe Double Life of Veronique\nKrzysztof Kie\u015blowski \/ 1991 \/ 98min \/ 4K DCP\nFriday, April 17 at 4:15 PMSaturday, April 18 at 7:50 PMSaturday, April 25 at 7:45 PM\nSaturday, April 18 Introduction by Richard Pe\u00f1a, Professor Emeritus, Columbia University, and Director Emeritus, NYFF\nThe film that introduced Kie\u015blowski to an international audience, metaphysical mystery The Double Life of V\u00e9ronique features Ir\u00e8ne Jacob in a double role, playing Weronika, a soprano in a Polish choir, and V\u00e9ronique, a French music teacher. The two doppelgangers meet only once yet share a deep synchronicity.\nA Short Film About Killing\nKrzysztof Kie\u015blowski \/ 1988 \/ 85min \/ DCP\nFriday, April 17 at 9:10 PMWednesday, April 22 at 2:00 PM\nA Short Film About Killing stars Miros\u0142aw Baka as Jacek, an antisocial and quite possibly psychotic drifter newly arrived in Warsaw whose taste for wanton cruelty finds expression in the brutal and senseless murder of a middle-aged taxicab driver, and puts Jacek on a trajectory towards death row. Released as a spirited public debate concerning capital punishment was ongoing in Poland, Kie\u015blowski\u2019s hard-to-shake film, unsparing in its depiction of violence, is a full-throated indictment of state-sponsored murder.\nBlind Chance\nKrzysztof Kie\u015blowski \/ 1987 \/ 114min \/ DCP\nSaturday, April 18 at 12:00 PM\nUncertain as to where his future lies after his father\u2019s death robs him of his sense of vocation, medical student Witek (Bogus\u0142aw Linda) impulsively decides to catch a train to Warsaw. Kie\u015blowski\u2019s triptych film shows three possible outcomes branching off from this pivotal moment, with our protagonist alternately joining the Communist Party, joining the anti-Communist resistance, or resuming his studies with renewed vigor, and facing further adversities in every case. Suppressed by Polish authorities on its completion in 1981, Blind Chance would only surface six years later, in a compromised form, in the Un Certain Regard section of the Cannes Film Festival.\nDocumentary Shorts by Krzysztof Kieslowski\nKrzysztof Kie\u015blowski \/ 1979 \/ 87min \/ DCP\nThursday, April 30 at 8:00 PM\nA program of Kie\u015blowski\u2019s short nonfiction films, where the same dedication as found in his fiction work. Includes The Office, an early study in bureaucratic torment produced while the director was still at \u0141\u00f3d\u017a Film School; I Was a Soldier, a platform for blind veterans to recall their experiences and recount their dreams; From a Night Porter\u2019s Point of View, a 17-minute interview with a highly opinionated minor security functionary who revels in the small portion of authority he enjoys; Hospital, an immersion into 24 hours in the life in an overcrowded and underfunded Warsaw emergency room; Talking Heads, in which 79 interviewees from various walks of life and of all ages answer same questions; and Railway Station, trying to photograph \u2018lost\u2019 people\u201d at the Warsaw Central Railway Station.\nNo End\nKrzysztof Kie\u015blowski \/ 1985 \/ 107min \/ Digital\nSunday, April 19 at 2:15 PM\nIntroduction by Rafa\u0142 Syska, film historian, Professor at Jagiellonian University in Krak\u00f3w, museum curator and former Director of the National Centre for Film Culture in \u0141\u00f3d\u017a.\nKie\u015blowski\u2019s first collaboration with both composer Zbigniew Preisner and co-screenwriter Krzysztof Piesiewicz was made in the immediate aftermath of the repression of Lech Wa\u0142\u0119sa\u2019s Solidarity trade union via martial law in 1981. A keeningly sorrowful work, perhaps Kie\u015blowski\u2019s most overtly political film, No End was subject on its release to attacks from the Communist authorities, the Catholic church, and Solidarity representatives.\nA Short Film About Love\nKrzysztof Kie\u015blowski \/ 1988 \/ 87min \/ DCP\nSunday, April 19 at 5:10 PMThursday, April 23 at 2:00 PM\nTomek (Olaf Lubaszenko), a 19-year-old postal clerk temporarily staying in his godmother\u2019s apartment in a Warsaw housing project, spends his idle hours brushing up on his Portuguese and peering through a telescope at Magda (Gra\u017cyna Szapo\u0142owska), a beautiful older woman in a neighboring building, but after a while voyeurism alone isn\u2019t enough, and Tomek begins meddling in the affairs of the object of his obsession with consequences that will put both in peril. \nThe Scar\nKrzysztof Kie\u015blowski \/ 1976 \/ 106min \/ Digital\nSaturday, April 25 at 5:40 PM\nStarry-eyed idealism runs smack into a wall of practical complexities and human stubbornness in Kie\u015blowski\u2019s first film to receive a direct to cinema release, in which a well-liked Party factotum,Stefan (Franciszek Pieczka) returns to a provincial town to oversee construction of a chemical plant he hopes will become a worker\u2019s paradise, but his vision is challenged by locals who resent the project and its environmental impact. A dive into the thickets of Polish bureaucracy in the Communist era, lent an unmistakable veracity thanks to the director\u2019s apprenticeship in documentary.\nCamera Buff\nKrzysztof Kie\u015blowski 1979 \/ 112min \/ DCP\nFriday, May 1 at 7:00 PM\nThe film that first established Kieslowski\u2019s reputation outside of his native Poland, Camera Buff begins with factory worker and young father Filip (the prodigiously gifted Jerzy Stuhr) bringing home an 8mm movie camera with no higher ambition than that of recording his daughter\u2019s first steps\u2026 but in short time, Filip has developed into a prize-winning amateur filmmaker, and his newfound passion is undermining his relationship with his wife and nettling his superiors. A deeply personal work that ruminates on the knotty relationship between the real world and its filmed double, and the difficulty of maintaining an integrity of vision when there are forces of authority demanding final cut.\nCo-presented with the Polish Cultural Institute, New York."},{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/#primaryimage","url":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398.jpeg","contentUrl":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2026\/03\/IMG_9398.jpeg","width":1600,"height":900},{"@type":"BreadcrumbList","@id":"https:\/\/instytutpolski.pl\/newyork\/2026\/03\/10\/moral-mazes-of-krzysztof-kieslowski\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/instytutpolski.pl\/newyork\/"},{"@type":"ListItem","position":2,"name":"Moral Mazes of Krzysztof Kie\u015blowski"}]},{"@type":"WebSite","@id":"https:\/\/instytutpolski.pl\/newyork\/#website","url":"https:\/\/instytutpolski.pl\/newyork\/","name":"Instytut Polski w Nowym Jorku","description":"Instytuty Polskie","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/instytutpolski.pl\/newyork\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"pl-PL"},{"@type":"Person","@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/c732b2695ee92026d080eec35471c7f1","name":"stypulkowskaa","image":{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/a29bb1802c91e057084d5d112dd59dc4?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/a29bb1802c91e057084d5d112dd59dc4?s=96&d=mm&r=g","caption":"stypulkowskaa"},"url":"https:\/\/instytutpolski.pl\/newyork\/author\/stypulkowskaa-2\/"}]}},"_links":{"self":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/20036","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/users\/202"}],"replies":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/comments?post=20036"}],"version-history":[{"count":65,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/20036\/revisions"}],"predecessor-version":[{"id":20545,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/20036\/revisions\/20545"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/media\/20039"}],"wp:attachment":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/media?parent=20036"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/categories?post=20036"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/tags?post=20036"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}