Often the topic of genre is neglected in relation to the works of Poland’s greatest director, probably because the majority of Kieslowski’s films are difficult to categorise. From his first feature film The Scar to his last Three Colours Red, there is no one film that fits any particular genre except the broader categorisation of these films as “dramas” which is unhelpful in such matters as that term includes the widest range of films possible.

His fourth feature film as director is part ghost story, part political drama, but at all times - a Kieslowski film.

Fading in on an image of a city at twilight, something becomes immediately apparent - the world is upside down. The street lights are stars; the clouds below are a large hazy fog which covers the ground. This seemingly innocuous opening image is filled with mystery, magic and suspense simply on account of being the wrong way up. We then cut to a young child, she to lies upside down, staring out of the window.

The Kieslowski series continues, this time examining his 1991 masterpiece and arguably greatest feature film, a study of the invisible connections between human beings.

Continuing on from the Left Field Cinema analysis of episodes one to five of this television masterpiece. This edition will examine the second half of the series that Stanley Kubrick once described as the only masterpiece he could name that was filmed in his lifetime.

Part two of two tackling a mini-series of ten one-hour films each examining one of the ten commandments, this edition of Left Field Cinema looks at the second five episodes, and tries to clarify what makes the second half of this ten hour masterpiece so compelling.

Strictly speaking this is a television mini-series of ten one-hour self contained episodes; each based around one of the Ten Commandments. This is not cinema, its television (although two of the episodes are shortened versions of the feature films A Short Film About Killing and A Short Film About Love). However the series has such incontrovertible gravitas that I feel obliged to analyse it.

Part one of two tackling a mini-series of ten one-hour films each examining one of the ten commandments, this edition of Left Field Cinema looks at the first five episodes, and tries to clarify what makes first half of this ten hour masterpiece so compelling.

He is one of the most famous Polish directors in the world, only superseded in this regard by Roman Polanski whose American work and controversial life has made his name the first to appear in a cinema goers mind when asked about Polish film makers. But in my personal opinion Krzysztof Kieslowski is the superior artist, and another of my top five directors.

The first episode in a series which will examine all the fiction films of Krzysztof Kieslowski, another of Left Field Cinema's top five directors. This week is an examination of his third feature film.