Przypadek

Can alternative decisions made in relation to one specific random event produce remarkably different outcomes for an inquisitive mind adapting?

Is it possible that the same person could emphatically respond with melancholic gusto, to diametrically opposed scenarios with shocking dialectic outcomes?

With or without exciting possibility with political support or in the thrilling underground, perhaps with traditional familial responsibilities, could the same person react so divergently?

As if sociopolitical engagement is a mischievous abstract maelstrom, different vessels like practical responses to a constantly shifting incredulous multiplicity.

As if the unexpected the unforeseen consistently introduces unprecedented dilemmas, which reimagine concrete foundations in need of striking transformative flux.

To stay afloat you employ grey flexible conducive relevant bold applications, circuitously dissected by ideological currents simultaneously engaged in the same opaque struggle.

Personal appeal and gracious mentoring provide fleeting cerebral provisions, from one piquant portfolio to the next, subjective instinct objective humour.

Competing forces build dams and levees attempting to limit the Kafkaesque exposure, material movements and spiritual sustenance providing relief within the grand disorder.

Isms and ists market intellectual plumage attempting to bridge variable discreet gaps, consistently haunted by resonant biology (hunger) as they uphold existential preservation. 

The absolutist seeks total control of the entire byzantine aqueous edifice, presuming resulting tsunamic ostentation will one day be followed by mass mellifluity.

The democrat limits the forbidding forces and offers advice for multivariable instances, celebrating fluctuation itself out of sincere respect for public opinion.

Witek (Boguslaw Linda) is immersed within different currents in Kieslowski's Przypadek, immanent ideological commitments compromising noble romantic resolve.

Even the lavish lagooned levitation leads to despondent airborne rupture, every random disparate path linked through chaotic contemporaneity.

Give me a raft or a kayak I suppose, some good bread and a variety of cheese.

A ride hitched on the back of a whale.

Some good books.

A salient film.  

Blizna

Problems associated with industrializing an underdeveloped region haunt the Party official in charge of managing operations, as Krzysztof Kieslowski's Blizna bluntly examines economic controversy, conflicting voices, inherent criticism.

Things haven't changed much in the quiet rural town for quite some time grandiloquently speaking, and while many of the residents adore the status quo, others seek prosperity or reliable jobs.

To build the chemical plant however several homes have to be "relocated", to the grave disillusionment of many citizens who aren't interested in financial compensation (if any was offered).

The age old forest is also decimated even more so as the project expands, there's an abundance of forest in Canada (even so economic development should proceed sustainably), such losses must be catastrophic in smaller nations.

But ecotourism hasn't flourished and the region isn't a vacation destination, and many people don't want to move to seek opportunity elsewhere, since plain and simply, they love their town.

But will they love it when industry settles in and mechanically transforms cherished landscapes and hideaways, as animal life departs and doesn't come back and pollution causes uncharacteristic illness?

Criticisms of the plant endemically abound which discourage its unassuming CEO, who's genuinely concerned with producing fertilizer in order to grow more food throughout the land.

It's easy to focus on a communal goal when a healthy way of life is cautiously preserved, but if pollution and 60 hour weeks become habitual, it can be more difficult to consider macrofactors.

A lot of people don't mind if the money's good and their lives improve, accumulating lavish sought after goods which were difficult to come by in the previous epoch.

But many others do and Bednarz (Franciszek Pieczka) takes their criticisms to heart, forgetting that it's just the price of doing business and that people like to complain.

Especially if there isn't much time to spend with their families and friends and the money isn't very good.

If the pollution makes them sick.

If they lose touch with their beloved environments.

Kieslowski doesn't seem to care much, Blizna examines Bednarz like he's a tragic figure, overcome by flippant grievances that can't see the bigger picture.

Pollution's not even a factor.

It's like the film laments a lack of absolutism. 

Not as balanced as I had hoped, still like nothing I've seen before, even if I found it too top heavy, I imagine it's admired by many an executive.