I have never compromised in what I have done with what I think, what surrounds me. That's why my films cannot be taken out of the archives.""Krzysztof Kies?lowski's untimely death came at the height of his career, after his Three Colors trilogy of films garnered international acclaim (and an Oscar nomination), and he had been proclaimed Europe's most important filmmaker by many critics. Born in 1941, he was only fifty-four years old when he died.Kies?lowski himself tried to tell the story of his life and career in the 1993 book Kies?lowski on Kies?lowski. This collection, by contrast, reveals the shifting voice of a filmmaker who was initially optimistic about his social and cultural role, then felt himself buffeted by the turbulent politics and events of the People's Republic of Poland. As described in the chronology in this book, he found himself subject to the ""economic censorship"" of post-Communist filmmaking.How Kies?lowski responded at each moment of his life, what he tried to achieve with each of his films, is finely detailed in thirty-five selections. These pieces bring together his thesis from the famous ?o?dz? film school, a manifesto written just before the dark days of martial law in Poland, diary entries from the first time he was working outside Poland, and numerous rare interviews from Polish-, French-, and English-language sources.

I have never compromised in what I have done with what I think, what surrounds me. That's why my films cannot be taken out of the archives.""Krzysztof Kies?lowski's untimely death came at the height of his career, after his Three Colors trilogy of films garnered international acclaim (and an Oscar nomination), and he had been proclaimed Europe's most important filmmaker by many critics. Born in 1941, he was only fifty-four years old when he died.Kies?lowski himself tried to tell the story of his life and career in the 1993 book Kies?lowski on Kies?lowski. This collection, by contrast, reveals the shifting voice of a filmmaker who was initially optimistic about his social and cultural role, then felt himself buffeted by the turbulent politics and events of the People's Republic of Poland. As described in the chronology in this book, he found himself subject to the ""economic censorship"" of post-Communist filmmaking.How Kies?lowski responded at each moment of his life, what he tried to achieve with each of his films, is finely detailed in thirty-five selections. These pieces bring together his thesis from the famous ?o?dz? film school, a manifesto written just before the dark days of martial law in Poland, diary entries from the first time he was working outside Poland, and numerous rare interviews from Polish-, French-, and English-language sources.