医院内的骨科医生除了面对病人外，还要和破旧的器材和不稳定的电力供应搏斗。

Each day of the week is represented by a ballerina beginning with a young child and ending with an older ballet teacher.

Patients with serious lung diseases, who are now in a sanatorium, tell us about their thoughts and feelings.

A short making-of from the set of Kieslowski's feature film "Blizna", which uses a lot the word "Action!" and the slate.

Personnel / Personel
1975, released Jan. 13, 1976, Poland, TV film
16 mm, color, 70 min
Director: Krzysztof Kieslowski
Screenplay: Krzysztof Kieslowski
Cinematography: Witold Stok
Music: „Aida”, Giuseppe Verdi, performed by Orchestra of the Grand Theatre and Opera in Warsaw
Art Director: Tadeusz Kosarewicz
Music arranged by: Michal Zarnecki
Production Company: Tor Film Studio, Warsaw, Poland
Cast: Juliusz Machulski (future film director, as Romek), Irena Lorentowicz, Wlodzimierz Borunski, Michal Tarkowski (Sowa), Andrzej Siedlecki (Andrzej), Tomasz Lengren, Tomasz Zygadlo, Janusz Skalski, and others.
Kieslowski’s first feature-length film is ostensibly about the theater’s anonymous backstage workers: the tailors, painters, modelers. They are creative individuals devoted to their work and vital to a theater’s success. But given the traditional cult of the actor, these craftsmen are underestimated by actors and audience alike. The film’s protagonist, Romek, is a student at a theater technical college. A sensitive young man fascinated by the magic of theatrical art, he finds his first job in the tailoring workshop of the opera. Quickly confronted with the reality behind the scenes - the bickering, petty jealousies, vindictiveness and corruption - his illusions are shattered. His elder colleague, the tailor Sowa, finds himself targeted by an hysterical actor, and socio-political organizations in the theater want to use Romek against Sowa. Kieslowski’s made-for-television microcosm of the society at large, and an early exploration of moral choice in the workplace.
Awards:
1975 Mannheim (International Film Week) – Grand Prix
1975 Mannheim (International Film Week) – International Catholic Film Award
1975 Andrzej Munk Award (of the National Film, Television and Theatre School in Lodz)
1976 Gdansk (in Gdynia since 1986) (Polish Feature Films Festival) – Best TV Film
1976 Gdansk (in Gdynia since 1986) (Polish Feature Films Festival) – Journalists Award for Best TV film
1976 „Golden Camera” (from "Film" magazine) - Best Feature Director’s debut of 1975
1976 Koszalin (Koszalin Film Meetings "The Young & Film") - Grand Prix "Great Jantar"
1979 Lagow (LLF) – Grand Prix „ Golden Grape Cluster”
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讲述国家监控局召开会议，讨论应否除去一名党员之党籍。

奇士劳斯基的短篇黑白习作，一瞥国营保险公司的柜台＆办公场景。可以联想到肯洛区的《我是布莱克》。处理弱势民众的生活与现代官僚机构／社会体制间的往返相对：各式文件、签章、身分证明，彷佛无穷尽的无奈等候；储存柜上满满的文件资料归档，背后是人们投向社会的需求（养老金、丧葬补助），无助地等待回应。那些适时停顿的沈默片刻（等候的表情、泡茶的桌面），如此日常而平凡，却提醒了结构性问题，至今仍在。

被囚三年后刑满出狱的政治犯安德，一心只想过安稳平静的生活。他在建筑界找到工作，又与心仪的女孩结婚。正当一切顺利之际，麻烦却接踵而来。工地里的同僚因工资纠纷发动罢工，而安德与老板却份属老友，但在当时的社会制度下，骑墙是不可能的事，安德想面面俱圆，却换来两面不讨好。

有些人焦急地等待，有些人徘徊不去，有些却索性倒头大睡；但每个人都被无所不在的闭路电视监视着。

波兰一个小镇的一名教师来到华沙，看望分居的妻子，希望她能回到华沙，而不是离婚。
波兰电影大师【克日什托夫·基耶斯洛夫斯基】早期编导的28分钟短片。一部有关婚姻的短片，没有结果的挽回。用纪录片手法拍的剧情片，跟《十诫》主题相关，试图挽回失败的爱情。

此条目为合集条目，共收录欧洲16位名导演的短片。具体包括：
01. Talk (Bara Prata Lite) - Lukas Moodysson (1997)

02. Charlotte et Veronique, Ou Tous Les Garcons S'Appellent Patrick - Jean-Luc Godard (1959)

03. Copy Shop - Virgil Widrich (2001)

04. Epilog - Tom Tykwer (1992)

05. Fridge - Peter Mullan (1995)

06. Opening Day of Close-Up - Nanni Moretti (1996)

07. Gisele Kerozene - Jan Kounen (1990)

08. World of Glory (Härlig Är Jorden) - Roy Andersson (1991)

09. L'Homme Sans Tete (The Man Without a Head) - Juan Solanas (2003)

10. Concert of Wishes (Koncert Zyczen) - Krzystof Kieslowski (1967)

11. Jabberwocky - Jan Svankmajer (1977)

12. Nocturne - Lars von Trier (1980)

13. Election Night (Valgaften) - Anders Thomas Jensen (1998)

14. El Secdleto De La Tlompeta - Javier Fesser (1995)

15. Le Batteur Du Boléro - Patrice Leconte (1992)

16. My Wrongs 8245–8249 & 117 - Chris Morris (2002)

Ten days of preparation for the Monte Carlo rally. The two Polish drivers battle with the technical shortcomings of the Polish Fiat 125 and overwhelming bureaucracy. They did not finish the race. An allegory of the country's industrial and economic problems.

Between Wroclaw And Zielona Gora / Miedzy Wroclawiem a Zielona Gora (10:12)
Workers and working life were subjects of special importance to Kieslowski, and often in his early documentaries as well as in his features he focused on them. Two of his films were commissioned by the copper mine. This reportage film about the Lubin copper mine focuses on the hopes of a miner and his notions of success. Even here one can find the Kieslowski touch.
— Polish Culture NYC

The Principles of Safety and Hygiene in a Copper Mine / Podstawy BHP w kopalni miedzi (19:39)
Commissioned instructional documentary film about the conditions of safety and hygiene of work in the Lubin Copper Mine. The artist brought his craftsmanship to bear even in this kind of occasional bread-and-butter work. This was also a useful occasion for sharpening a documentary maker’s eye…
— Polish Culture NYC

Hero, is a polish former partisan and random unrelated scenes from his life of a realistic and surreal character are shown. Because of war his powerlessness, unbelief, self-irony, and difficulty in communicating are becoming apparent.

Directed by
Alejandro Agresti
Gábor Altorjay
José Luis Guerín
Clemens Klopfenstein
Tato Kotetshvili
William Mbaye Ousmane
Eagle Pennell
Dick Rijneke
Mrinal Sen
Béla Tarr
Mildred Van Leeuwaarden
Krzysztof Kieslowski (segment "Siedem dni w tygodniu")
Carlos Reichenbach (segment "Desordem em Progresso")

“We tried to draw a broad picture showing that the class which, theoretically at least, was said to be the ruling class, had somewhat different views from those which were printed on the front page of the Trybuna Ludu.”
— Krzysztof Kieslowski
Robotnicy – Nic o nas bez nas tells a story about Gdańsk Shipyard and its workers after so called Grudzień 1970 (1970 protests). After those events Edward Gierek replaced Władysław Gomułka as party first secretary and promised redical change in style and methods of ruling. Kieślowski shows the skepticism of workers and their attitude to party members. He also pictures conflicts inside the party (PZPR) and usual work in shipyard. The political criticism of this movie made it a target of censorship – it was suspended and cut against the will of director.

雅泽克漫无目的地在街上走。他觉得杀一个人真累。他的小妹妹活泼可爱，一天晚上被一个刚跟他喝完酒的司机开车轧死了。妹妹的死使雅泽克决定杀一个人报仇，可是他找不出杀某一个人的理由。他刁难照相馆老板，侮辱厕所里的少年，只要他们有丝毫反抗，他就有理由杀人了，然而他们没有。最后，他找到一个拒载的司机，费了好大劲儿才把他杀死了。雅泽克的辩护律师是个刚毕业的小伙子，听了雅泽克讲述的杀人动机，他感到困惑，用抽象的法理知识评判个人性情产生的偶然案件是多么困难！雅泽克被吊死了，年轻律师却对“公正”的司法制度感到绝望。

十九岁的多米克在一家邮局工作，他暗恋着住在家对面公寓里的玛格达。为了常常见到她，他伪造了汇款单骗玛格达去邮局，后来还偷了一加高倍望远镜，开始了窥视玛格达的生活。经常有男人到她家去，他们就在多米克的注视下你好。但是多米克感觉到她并不快乐，一次，他看到她趴在桌子上痛哭。为了更接近心上人，多米克作乐送牛奶的临时工。一天早上，玛格达忘了把空奶瓶放在门口，多米克鼓足勇气敲开了她家的门。他承认自己在偷看她，并倾吐了对她的爱。玛格达请他去咖啡馆，告诉他这世上没有爱，只有你好，然后带他回家，换上睡衣，把多米克的手放在自己的大腿根上，叫他摸进去，说这就是爱。多米克把手颤抖着摸进去，突然痛苦地跑走了。当天晚上，他在浴室里用刀片割开了手腕上的动脉。多米克从医院出来后，玛格达去找他，他冷漠地说，“我已经不再偷看你了。”