The Key to Kieślowski

Writer-director-cinematographer, Krzysztof Kieślowski (1941-1996), a leader in European film-making, focused his creative energies on, in our analysis, using screenplays to facilitate the idea of unity-in-diversity and healing between individuals and among the nations of the world. Although his entrance into the film-making field is often described as inadvertent, it is clear from the body of work that dominated his too-brief time on Earth that Kieślowski’s life mission was to influence the improvement of the human condition on planetary scale. 

During the development of Noetitek™ and prior to our founding PluribusOne™ Consulting, we were first drawn into an examination of Kieślowski’s work after hearing about his intriguing 1991 production: The Double Life of Véronique, which critics called a “difficult” film, one that does not yield its “secrets” easily. One critic went so far as to conclude that the film was not about anything (!), a mystery with no solution intended—an absurd opinion. When we studied the film, we saw a story that drew upon metaphysics and quantum entanglement, a story to encourage an awareness of the higher and widely unrecognized connectedness of all people (and, no doubt, to reinforce the spirit of the unification of Europe) by documenting—through action more so than word—the life of a twin-soul incarnated as two identical but individual women, one living in France and the other in Poland. With this realized, multiple viewings reveal more and more about the deeper story and about the mind and muse of Krzysztof Kieślowski. 

His crowning work, Three Colors (1994), a trilogy completed and distributed not long before his death in 1996, further demonstrates the idea of unity through entangled quantum consciousness and manages to promote the European Union again (these films were partially funded by France, a founder of the EU). It explores the meaning underlying the colors of the French flag: liberty, equality, and fraternity in a manner some critics called “magnificent” but also, again, “mysterious.” The mystery is solved when the viewer realizes that Kieślowski was essentially a metaphysician who used movies as his medium for the expression of what we want to call “practical morality”—spiritual reconnection without religion.

In analyzing his final works we were astounded by the masterful way in which he used either deeply occult/esoteric knowledge or an equivalent instinct of the Law of Correspondence in weaving together ingredients such as: color, shape, sound, movement, setting, lighting, timing, characters, sexuality, synchronicity, props, etcetera, in order to make complex and profound statements that go beyond the mere mimicking of reality and create a super-reality that opens doors of perception on the world as it is, and as it can be. Each time we re-experience the trilogy Blue, White, and Red we discover something new and amazing in this expression of absolute genius.


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4 Responses to “The Key to Kieślowski”

  1. Sandi Says:

    Please share something specific from your research that indicates he had an esoteric, occult, or metaphysical inclination.

  2. PluribusOne™ Says:

    Here’s one to consider: In the film titled: White, his polish male lead character, Karol, is buried in a Warsaw, Poland cemetery, in row number 23. The name of the cemetery is the Powazkowski Cemetery. Kieslowski was later buried in plot number 23 of the Powazki Cemetery in Warsaw, Poland. Coincidence, or is there a message and meaning? Either he picked the plot, or it’s an “insider” tribute to his use of “hidden” knowledge. (See our post: “The ’23 Enigma’ Solved.”)

    We would say more here about this “coincidence” but do not wish to spoil your viewing experience. We will, however, share it if you email us at

  3. Stark Raven Says:

    Your response to the first comment is not convincing to me. Is there any evidence that anyone else has seen a metaphysical aspect to his work. I saw the film Blue and frankly felt it wandered around looking for a reason to go on, much like the lead character.

  4. PluribusOne™ Says:

    Kieslowski is like a gourmet restaurant in a city filled with fast-food joints. Most people actually prefer a burger and fries with cola to duck à l’orange, roast potatoes, and wine, regardless of cost.

    When he did the film titled “No End,” which included scenes where a dead man describes his death experience, visits his home and reads the newspaper, and later sits in a bench petting a dog, Kieslowski received much criticism from the religious sector in Poland which argued that his film was not “metaphysically correct” (my quotation marks). He dodged contentious voices of authority by stressing that the documentary-style film was simply a work of art designed for entertainment.

    However, the fact is that “No End” (1985) does make intentional and important statements about life on Earth (i.e., showing the economic, technological, and political climate in Poland as well as its dysfunctional justice system) and significant statements about what one may expect in the afterlife (i.e., showing a dead man’s transition in a way described by many near-death experiencers and in ancient non-Christian texts). “No End” is a prelude to the “Three Colors” trilogy.

    Kieslowski’s work is an acquired taste for some people. Personally, I was enthralled by his mastery from my first viewing experience.

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