Poland, in the politically turbulent late 1970's: Witek (Boguslaw Linda) is running to catch a train. From this banal event, Krzysztof Kieslowski imagines three different possible outcomes in the young man's life. In the first scenario, Witek catches the train on which he meets some hard line communists and joins the party. In the second, as Witek runs for the train, his path is blocked by a ticket inspector; the ensuing struggle leads to his arrest and subsequent involvement in the political underground. In the final scenario, Witek misses the train and he returns to the medical studies that he intended to abandon. He falls in love with a female student, gets married and lives a quiet life as a doctor, showing little interest in politics.
Interviews with Kieslowski collaborators Annette Insdorf and Irena Strzakowska
Interview with filmmaker Agnieska Holland
Workshop exercises – Short film by Marcel Lonzinski
Brand new audio commentary on 'Blind Chance' by film historian Michael Brooke
Moral and Martial Anxieties, a brand new discussion with Michael Brooke, exploring the brief and remarkable Polish film renaissance of the turn of the 1980's
Brand new introductions by scholar and critic Micha Oleszczyk
Micha Oleszczyk looks through archive materials
Archival interviews with filmmakers Agnieska Holland and Krzysztof Zanussi, cinematographers Slawomir Idziak and Jacek Petrycki, actress Grazyna Szapoloska, sound designer Michal Zarnecki, critic Annette Insdorf and Kie lowski collaborator Irena Strazakowska
Three short films by Kie lowski: Talking Heads (1980), Concert of Requests (1995) and The Office (1995)
Workshop Exercises, a 1987 short film by Marcel Lonzinski
'Blind Chance' is actually quite dull. And quite interesting. The structure of the film - 3 short(ish) sections, each the result of the main character's missing or catching a train - lends a kind of spurious interest to rather tedious tales of unconvincing love, minor politics and unsensational imprisonment. But there's something here that is hard to pin down : a kind of director's intelligence that makes things hard to dismiss. The acting is perfect. Human observation is immaculate. The ending (though predictable 2 minutes from the end) is gasp-making. And the film 'stays with you' in an unexpected way. Perhaps the anti-Hollywood approach - slow, meticulous, self-consciously structured, even dull - is rewarding in itself.
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Dire filmmaking that thrilled 70s audiences
- Blind Chance review by SF
Why is Kieslowski considered a great director? On the basis of this film, you'd be hard pressed to answer. Dreary, pretentious, dry, sort of the film version of a post-modern dissertation at an ex-Poly.