Decalogue VII
- Anna Polony: Ewa
- Maja Barelkowska: Maika
- Władysław Kowalski: Stefan
- Bozena Dykiel: ticket seller
- Bogusław Linda Wojtek
- Katarzyna Piwowarczyk: Ania
- Artur BARCIS
- Stefania Błońska
- Dariusz Jabłoński
- Mirosława Maludzińska
- January Mayzel
- Ewa Radzikowska
- Wanda Wróblewska
Decalogue, Seven is a Polish television movie from the year 1990. As the seventh part of the Decalogue series director Krzysztof Kieślowski of the film deals with the Seventh Commandment Thou shalt not steal.
Content
Maika had 16 an affair with her teacher and became pregnant. Her mother, the director of the school, then decided to channel the child, a girl, officially known as the issue and raise to cover up the scandal, but also because Maika had no sense of responsibility to her own child. The mother took the child as her own. Maika acquiesced in this arrangement. But over the years she felt her longing for her daughter, officially sister, continued to grow.
Now, six years later, Maika want her back her child, even if the child recognizes his grandmother as mother and does not know that Maika is her real mother. Only Maika's father and her then lover ( Bogusław Linda ) know the truth.
Maika decides her own daughter to "steal " during a children's theater, ie to hijack - but zurückzustehlen from their point of view as the real mother again - and to flee with her to Canada. She has all this long prepared. She hides herself with the child at her then boyfriend, the father of the child. Maika asks her daughter earnestly to call her "Mom ", but the little girl remains persistently at " Maika ".
When her friend Maika suggesting that she should return to her mother the child, she flees again, hiding with the child at the train station in a friendly but clueless employees. Minutes before the train arrives, Maika is found again by her mother and her father. The child runs into her mother's arms. As Maika sees this, she gives up and goes full mourning alone in the train. Now the child triggers the arms of his grandmother and runs a short distance behind the train, staring confused the sad Maika behind the windows of the train behind, from which it does not know that she is her mother.
Criticism
"The history of increased emotions is no real hymn to a mother's love, but a more complex exploration of a dramatic conflict situation. It's about questions of responsibility, ownership, affiliations, to loneliness and death. Despite weaker actor's performance within the total cycle is an important element. "