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Scene from Bez konca (1985)
Scene Details
| Duration: 271 sec. | Nudity: yes | Creator: zorg |
| New Filesize: N/A | Sound: yes | Old Filesize: 536 mb |
| File Format: AOMedia Video 1 (WebM/AV1) | Resolution: 1794x1080 | Added: 2021-Jan-24 |
Actresses in this Scene
Grazyna Szapolowska
Career
First Appearances:
Most Important Roles:
Career Highlights:
Full Biography
Grażyna Szapołowska, born on September 19, 1953, is a Polish actress known for her role in 'A Short Film About Love' (1988), directed by Krzysztof Kieślowski. She previously starred in another of his films, 'Bez końca'. After graduating from the Theatre Art School in Warsaw and working at the National Theatre, Warsaw from 1977 to 1984, she joined the Wroclaw Theatre of Pantomime.
About the Movie: Bez konca (1985)
Release Year: 1985
Nation: N/A
Alternative Title: Sem Fim, Без край, Sans fin, Blind kærlighed, Ilman loppua, Sans fin, Befejezés nélkül, Senza fine, 終わりなし, Be pabaigos, Bez końca, Brez konca, Без конца, Sense fi, Utan slut, Det nakna ansiktet, Sonsuz, No End, Ohne Ende
Director: Krzysztof Kieslowski
Writer: Krzysztof Kieslowski, Krzysztof Piesiewicz
Production & Genre
Producer(s): N/A
Companies: N/A
Genre: Drama, Romance
Story
The story unfolds in Poland during martial law in 1982. Ulla, a translator working on George Orwell's novels, loses her husband Antek, an attorney. Grief-stricken, she finds solace in her work and seeks help from hypnosis. Meanwhile, she helps the wife of Darek, a jailed Solidarity strike organizer, find Labrador, an aging lawyer to defend him. Labrador uses political manipulations and psychological tactics to free Darek.
Summary
Directed by Krzysztof Kieslowski in 1985, 'Bez konca' (English: 'Without End') is a Polish drama that explores themes of grief, loss, and survival amidst political turmoil. The film centers around Ulla, a translator whose life unravels after the sudden death of her husband Antek. As she struggles to cope with her grief, she becomes entwined in the plight of Darek, a jailed Solidarity activist. Kieslowski uses this personal narrative against the backdrop of Poland's martial law era, examining how individuals navigate their own emotional landscapes while surrounded by political chaos.