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。

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。

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。

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。

讲述国家监控局召开会议，讨论应否除去一名党员之党籍。

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”
Download Link

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

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

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

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。

At the time of the Polish social regime, a security officer is promoted to work at a prison yard. Introducing concurrently with the narrator; he speaks of himself, his thoughts, his point of view.

几个老兵都在第二次世界大战时失明，唯有在梦中还能看得见。

呈现了洛兹这个破落小城里人们憔悴的面容，镜头冷静客观而不滥情。

A bit of color for once, all the better to see the red flags with, not to mention the obvious aerial file footage of Warsaw. The story concerns Jozef Malesa, the mason or bricklayer of the title. He was once the darling of the party, the son of two old party activists, a worker of heroic reputation, his own commitment to The Movement unquestioned. He was chosen to be destined for great things, specially educated and pushed forward to positions of responsibility in the Party. Eventually he decides, because of the ethical pressures which he feels from the obstructionism of the bureaucracy from above, he asks to return to be a simple bricklayer. He is disturbed with the way the Party deals with people, especially their lack of direct contact. He thinks workers know better than the leadership many times but that's not the way power flows. He is uncomfortable with the compromises to his idealism. He remains committed to social justice and joins his friends for the May Day rally where his comfort and confidence in his place in society cause him to defer to no man, certainly no rat faced men in overcoats with red armbands. His great pleasure in life moreover is laying brick. He finds the work satisfying and fulfilling which is why he was such an obviously superior worker in the first place.

访问了数十个不同年龄的人，了解他们生命中最重要的是什么。

这是基耶斯洛夫斯基个人最喜欢的一部电影，这部清新怡人的纪录短片，全然没有基氏黄金期那般充满道德焦虑。他跟踪一对波兰青年男女从相识、相爱直至结婚生子的全过程。虽为纪录片，却有着剧情片所特有的情节脉胳和专属基氏的极微妙的情绪跳动，赋予了纪录片别样的光彩。这对青年男女在婚前订住宾馆时，基氏派其工作人员伪装成民警，前去查房，给这对情侣带来了一场极生动的有惊无险。由此，基氏模糊了真实与虚拟的界限，使我们看待这场庸常而美好的爱情之时，也产生了犹疑。基氏顽皮而机智地洞穿了“真实”的缺口，使电影和人生成为一种既尴尬又无可奈何的互补。

基希洛夫斯基的早期短片。刻画一对年青男女在电车上的偶遇。

Jacek Lazar（米罗斯洛·巴卡 Miroslaw Baka 饰）是一个二十一岁的男子，他在街上游荡，吓走广场上的鸽子，在天桥上朝底下的汽车扔石头，在照相店让人将他口袋里那张已经出现了折痕的照片放大，是一个小女孩的照片。Waldemar Rekowski（Jan Tesarz 饰）是一个普通的的士司机，调戏年轻女子，捉弄乘客，故意按喇叭惊吓动物，他的下一个乘客是Jacek。Piotr Balicki（Krzysztof Globisz 饰）是一个年轻的律师，认为刑罚并不能防止犯罪，而防止犯罪正是法律的目的，他刚刚通过律师考试，他为杀人犯Jacek辩护。Jacek坐上了Waldemar的的士，他们开车到野外，Jacek用一条绳子勒死了司机。Balicki极力为Jacek辩护，希望避免死刑，但Jacek最后还是被判处了死刑。临终前，Jacek和Balicki长谈，说起因为他和一个卡车司机喝酒，致使卡车司机开车碾死他妹妹的事情......