Tag Archives: Krzysztof Kieślowski

A final trip to to the loose-trilogies of Lucio Fulci and Krzysztof Kieślowski. A showcase of how the past can shape the present. The House by the Cemetery delves into the theme of how the past can come back to haunt us, literally and figuratively, and how it is often difficult to escape its grasp. Three Colors: Red focuses on the idea of how the past can shape and define our relationships and how it is possible to connect with others despite our individual histories. Two films that deal with the theme of personal growth and the realization of one’s own limitations and flaws. Finding the ways in which the past can shape and influence present life.

Spiritual trilogies meet again when Double Feature digs deeper on a new pair of filmmakers. Alice’s crossed the pond and is on a tin can for the first time since Double Feature: The Early Years. Part two of the two parallel trilogy adventure of Year 12. Gracious gratuity in The Beyond. The Gates of Hell cinematic universe that never was. People forgot the lessons of the spider scene. Greatest Hits of gore shots. Also probably a story. Types of deaths in horror. Atmosphere. Kieślowski’s Three Colors: White. The French flag and revenge. Or equality. Heavily underappreciated, superb art, for art’s sake. An unconventional interpretation of equality. Solondz with less cum. Having a less personal story allows for more comedy.

Spiritual trilogies align as Double Feature covers a new pair of filmmakers. A freshly minted episode to begin Lucio Fulchi’s Gates of Hell trilogy and Krzysztof Kieślowski’s colors trilogy. Michael has a high thoughts lists and a silent colon. Giallo, cause that’s what you want. Pretend gore never hurt anybody. Polish director Kieślowski makes his first non-AC appearance on Double Feature. Did you know the French flag consists of three colors? A meditation on freedom, like the kind of freedom when your whole family dies. Art doesn’t need to worry about its audience liking it. Sometimes you know that everyone is going to make fun of your excessively heavy film, but you should make your excessively heavy film because fuck ’em.