“Thou shalt not steal” – but in this case the ‘theft’ is of a child by her real mother, who then finds herself emotionally unable to cope with the responsibility, while the stable and loving family that brought the child up are distraught.
Ten film nie jest aktualnie dostępny na MUBI- w przeciwieństwie do 30-tu innych, wspaniałych filmów, które są teraz dostępne. Znajdziesz je w obecnie wyświetlane.
At first glance one of the least mystical and conventional episodes in terms of the dramatic build- up and the narrative flow. Yet, the double schism in the family with 'stealing' as a mutually excluive sin is morally ambient, leading to a typically Kieslowskian double rupture. As always, pockets of unacanny indeterminacy surface (the man in the crutches), only to enhance the unsettlling sense of (im)possibility.
A tragic and upsetting tale about the controlling nature of parents and family. Is this one about "Thou shall not steal"? A person stolen? One of the more genius aspects of the series is that one sometimes can't tell which commandment inspired Kieslowski to make the film, they are able to encompass so much. The last few shots are unspeakably sad. A family torn apart, two actually.
Each episode presents something that appears right yet seems wrong and appears wrong yet seems right. There is little subtext to VII; it is the most obviously written. A mother's right, what might seem a priori, challenges the contextual right. Borne is the conception of the "greater good". How can there be an absolute?
79/100 - Very Good. (3.5)
Sıra dışı bir kurgu, 'çalma' emri üzerine bundan daha özgün ve güzel bir hikaye olabilir miydi diye düşünüyorum. Genç bir kadın, çocukluğu, annesinden göremediği ilgi ve sevgiden dolayı eksik kalmış. Aynı kadın ki bu kez kendi anneliği, heyecanı, geleceği, aşkı, hulasa yaşamı annesi tarafından 'çalınıyor', duygularını yaşamasına izin verilmiyor. Sevgi üzerine çok etkileyici bir dili var filmin, çok başarılı.
Through being at once a fairytale-like fable and gritty social realism this ran the risk of neutralising itself - however, against some over-determined symbolism were strange, unresolved ambiguities (the teddies in the cabin!) that lifted 'Decalogue VII' from being wholly schematic. I liked the wide-eyed otherness of the little girl. I appreciate when films recognise that children are not "innocent" but pre-moral.