A naive inexperienced young man spies on a woman who lives across the courtyard, and falls in love with her. He starts using tricks which he hopes will lead to them meeting.A naive inexperienced young man spies on a woman who lives across the courtyard, and falls in love with her. He starts using tricks which he hopes will lead to them meeting.A naive inexperienced young man spies on a woman who lives across the courtyard, and falls in love with her. He starts using tricks which he hopes will lead to them meeting.
- Awards
- 14 wins & 1 nomination
- Miroslawa
- (as M. Chojnacka)
- Postman
- (as S. Gawlik)
- Bearded Man
- (as R. Imbro)
- Blond Man
- (as J. Piechocinski)
- Gasman in Magda's Apartment
- (as K. Koperski)
- Post-Office Clerk
- (as J. Michalewska)
- Angry Postmaster
- (as M. Rozniatowska)
- Old Woman at Post-Office
- (as E. Ziólkowska)
- Nurse
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThe ending is different from the TV version. It was rewritten at the suggestion of lead actress Grazyna Szapolowska who wanted the film to have a "fairytale ending".
- GoofsWhen Tomek goes out onto the roof above Magda's flat, his black eye and split lip are gone. They reappear when he goes back into the building.
- Quotes
Magda: Why are you peeping at me?
Tomek: Because I love you. I really do.
Magda: And what do you want?
Tomek: I don't know.
Magda: Do you want to kiss me?
Tomek: No.
Magda: Perhaps you want to make love to me?
Tomek: No.
Magda: Want to go away with me? To the lakes, or to Budapest?
Tomek: No.
Magda: So what do you want?
Tomek: Nothing.
Magda: Nothing?
Tomek: Yes.
- ConnectionsEdited into Dekalog: Dekalog, szesc (1989)
Olaf Lubaszenko's central performance as the boy is, rather than 'opaque' as it has been termed, engrossing from the start. His innocence and fragility, just like the film's, are an invitation to the intimacy we progressively acquire. We, the film's audience, watch engrossed and exposed just as does he, and, in another sense, does the subject of his observations. His telescope becomes a direct motif; distance, separation, enlargement: all the things the filmmaker provides for the viewer. Thus, at emotional, intellectual and metacinematic levels the film explores its themes: observation and love.
While it may not come to solid conclusions (nor ought it to), the sensitivity with which the director watches his actors is utterly compelling. The resultant negotiation between man and women, subject and observer, viewer and filmmaker is a relationship, a love affair. Perhaps Barthes might have sought to go further, waiting for the end of the film, its 'death', to find psychological and sexual consummation to such an affair, and the film may support such a reading. Even a far less academic approach is sufficient, however, in order to enjoy the work at it appears at face value. We do not need to analyse in order to feel, and it is the film's emotional impact that remains when our brief voyeurism, our visit to the cinema, ends.
- GJBMarsh
- Sep 17, 1998
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Details
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- Also known as
- Ein kurzer Film über die Liebe
- Filming locations
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- See more company credits at IMDbPro