A film not seen outside Poland until 1986 because of its pro-Solidarity stance. Coming out of the dead end of a materialist-determinist culture as in the Poland of 1982 under martial law,this film uses the ghost of a young lawyer,Antek(Radziwilowicz )explaining he is already dead,and who oversees proceedings.We are in the realm of metaphysics:the spiritual and hypnotism figure,the Pope isPolish. Antek affects the living world in small ways,the family dog is aware of his presence. Antek's wife,Urszula(Ulla)[Szapolowska], tries to overcome her grief and wants to help one of Antek's former clients, Darek,-a worker accused of being an opposition activist-who will now be defended by Labrador(Bardini),one of Antek's colleagues-an older experienced lawyer.
Social political obligations balance Ulla's private grief,the film's politics and glimpses into daily life under martial law are equally as involving as thepersonal drama.Unable to affect change under martial law the average person possessing a clear conscience is reduced to being a ghost,hence the exploration of thespiritual and the private realm of feelings of Ulla(and Kieslowski).Coming at the end of a series of short films and documentaries from 1970,Kieslowski made features like Camera Buff,Blind Chance and No End in the late 70s and early 80s.Prior to the Dekalog most of his work was openly political,but with this film and the Dekalog series,he pushes poverty,political struggle and bureaucracy into the background,focusing instead on emotional,ethical and psychological dilemmas common to any modern Western society.Kieslowski shows a growing command of interior representation,Ulla's reflective moments,odd visual details-a clenching hand,the rubbing of toes.Everyday reality is no longer enough,it's the exploration of what lies beyond that,how people are connected,and where they might end up.This is the 1st of Kieslowski's screenwriting collaborations with former lawyer Piesiewiicz. Though watched over by Antek,Ulla is attempting through sex and hypnotism to murder her overwrought memories,while raising her son.
Antek watches as the client,charged with organising a political strike,is defended by the veteran lawyer who knows as he did not,how to compromise.For the prisoner freedom means standing up for your beliefs,freedom of speech is more important than prison.The film is about bereavement as well as politics,a kind of ghoststory as well,with Kieslowski triumphant,because of the passion of his commitment toboth major themes and the leading two actors' interpretation.The ghost story works due to the real understanding of what it is like to lose someone you love. Kieslowski creates in No End a moment of mourning for both Ulla and a nation disenchanted with its present and future possibilities.There is a beautiful balance of colour and tone in the picture quality. The final, bittersweet image depicts the two of them walking together through an indigo twilight.Kieslowski's future creative team was composer Zbigniew Preisner, whose deliberate and haunting melody for No End would surface again as the central theme in Blue,with its Pauline hymn to the power and necessity of love.A master then of contemporary world cinema.