Word: kieslowski
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Since Karol was potent before they were married and is capable of performing after the divorce, the director Kieslowski is definitely trying to say something about marriage. He is using marriage as a forum for exercising power and revenge. This is one of the many unique characteristics of the story Kieslowski has created...
Instead of emphasizing the chase and ending with the fairy tale "happy ever after," Kieslowski extends beyond the "happy ever after" to see what comes in the "after." This explosion of the traditional folk tale may be called post-modern or deconstuctionist by some, but these cocktail conversation words seem too obscure to describe what he is doing here. The subtlety of Kieslowski's plot is where the beauty of this film radiates. The viewer only realizes after the film is over the idiosyncratic nature of the events which have unfolded. They have unfolded simply and smoothly, without crash...
...turns out to be Mikolaj, we are not really surprised. The sense of voyeurism accomplished with Karol watching his own funeral or looking through binoculars at his ex-wife in prison do not overtly strike the viewer as unusual. But combined, these and other scenes slowly converge to form Kieslowski's unique way in which to tell his love story...
...addition, the wonderfully stimulating filming techniques which Kieslowski employed in "Blue" disappear here. He is more interested in the story than on overindulging this reviewer's taste for the visual...
This does not mean that Kieslowski does not use his visual talent. He steps into Karol's memory on occasion, replaying his reel-to-reel vision of walking from the marriage altar and stepping into the sun with Dominique. Her kiss always ends this sequence of hazy golden light and crinolin...