A scene from THE DECALOGUE: SEVEN, directed by Krzysztof Kieslowski for Warner Bros.

The Decalogue: Seven (1990, Krzysztof Kieslowski)

Seven is definitely one of the stronger Decalogue films, but Kieslowski can’t figure out what his best angle is into the story. The story is the thing of melodrama and soap opera–Maja Barelkowska’s character had a secret baby (fathered by her young teacher, Boguslaw Linda); her mother (Anna Polony) raised her granddaughter as her daughter. Barelkowska wants her back.

Kieslowski and Krzysztof Piesiewicz’s script has way too much exposition–there are two or three scenes where everything stops so the characters talk about the past–but it’s pretty good when it comes to the characters acting in the present. And Kieslowski’s foreshadowing is mostly successful.

What isn’t successful is how Kieslowski and Piesiewicz treat Barelkowska. They can’t decide if she’s the victim or the villain. Never do they make her the protagonist. As a result, her performance’s weak. Everyone else is great though. Especially Katarzyna Piwowarczyk as the child.



Directed by Krzysztof Kieslowski; written by Krzysztof Piesiewicz and Kieslowski; director of photography, Dariusz Kuc; edited by Ewa Smal; music by Zbigniew Preisner; production designer, Halina Dobrowolska; produced by Ryszard Chutkowski; released by Warner Bros.

Starring Anna Polony (Ewa), Maja Barelkowska (Majka), Wladyslaw Kowalski (Stefan), Boguslaw Linda (Wojtek) and Katarzyna Piwowarczyk (Ania).



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