A violinist coerces an old doctor into predicting her sick husband’s chances of survival in hospital. Meanwhile she is having a baby by her lover, and her decision whether to have it or not depends on the doctor’s diagnosis.
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Bearing her 'Sophie's choice', the episode finally draws on the dramatic weight it tends through aesthetic means. Kieslowski shifts from a spiritual rumination to a moral one, presented with subtlety by the luminous Aleksander Bardini (No End, The Double Life of Veronique, Three Colors: White). The dripping faucet remains a Kieslowski favourite.
84/100 - Great.
Kieslowski's greatness often lies in his silence allowing the viewer reflection of a character's thoughts or of vivid symbolism which is persistent in this decalogue as the potential power of god an individual can have is reflected upon. A doctor is able to falsify the death of one man in order to save another. Truth is resisted in the name of morality, but was it truly moral or an abuse of power and responsibility?
After waiting for Netflix to bring it in, I got the first DVD for The Decalogue and just finished watching this minutes ago. I really like it a lot and delivered a similar level of quality, only not nearly as good as Decalogue I. I loved the dynamic between the woman and the doctor and how they each had their own complex, internal battles they must face alone. The ending was predictable, but powerful nonethless.
7/10. An impossible moral dilemma in which a woman must choose whether or not to abort the child she has finally conceived against all odds with her lover as she waits and watches to see if her husband will awaken from his mysterious coma.
Masum bir insanın, bilhassa bir çocuğun yaşamı her şeyden önce gelir, gelmelidir. Henüz başlamamış bir hayatı sonlandırmak veya sürdürmek... Sevap diye bir şey varsa hayatta o da bu seçimi yaşamdan yana kullanmak adına yalan söylemektir herhalde, tereddüt etmeden.