The Decalogue

Here are short summaries for each of the ten installments of “Dekalog,” also known as “The Ten Commandments” and “The Decalogue.” I wrote these summaries just now from memory, without looking them up online. I watched them multiple times, most recently about fifteen years ago. “The Decalogue” was directed by Krzysztof Kieślowski in 1988 as a television series. It consists of ten one-hour films, each short film exploring — rarely in obvious ways — a character’s struggle with a moral dilemma related to the episode’s Commandment.

The episodes briefly feature a mysterious young man, sometimes a tram driver, a road surveyor, and so on, who observes each of the key characters at their moral crossroads. He never interacts with anyone, merely watches man freely choose his action. This mysterious character is not explained by Kieślowski. In most interpretations he is said to be an angel.

1. Thou shalt not have other gods before me. The first and most tragic episode of “The Decalogue” is about a man, who is an engineer or something similar, calculating the expected thickness of ice on a nearby pond to be sure that it’s safe for his nine-year-old son to skate on. Though all of his data and methodology are correct, the ice breaks anyway.

The opening scene of Dekalog 1 is one of the reasons why Kieślowski, who died at a fairly young age in 1996, is not merely the storyteller of then-newly reunified post-communist Europe. He is the prophet of the present European cataclysm. This opening scene shows this “angel” character as a drifter or a vagabond. He looks into the camera, directly into the viewer in the most chilling kind of foreshadowing. His gaze penetrates to the soul, commensurately with the the tragedy that this episode covers, as well scaling up to the attempted murder of Europe itself that we are presently living through.

“Thou shalt not have other gods before me” is the first and thus the most important Commandment. It is the key to beating back the demons that swarm about our lands.

2. Thou shalt not take the name of the Lord thy God in vain. An oncologist holds a human life in his hands, in the most unwelcome dilemma. Not his patient’s life, but the life of an unborn child. His cancer patient has a mixed prognosis. The doctor has to tell his patient’s wife what her husband’s odd are, in his medical opinion. She had just confessed to the doctor that she is carrying a child from an affair that her husband does not know about. She tells the doctor that if he expects her husband to recover, she will abort the child but if he tells her that he will die, she will keep the baby.

Kieślowski’s films are inseparable from Zbigniew Preisner’s music scores. It really is a fusing of image and sound, you almost don’t know where one ends and the other begins. They collaborated on 1988’s “Decalogue” and remained lifelong friends and artistic partners, notably in Kieślowski’s later French-language works, “The Double Life of Veronique” and “The Three Color Trilogy.”

This is one of the evocative scenes in “Dekalog 2.” The dying patient, perhaps miraculously, begins to heal. He observes a honeybee that was drowning in a glass of fruit juice dramatically pull herself from certain death. It’s clearly a metaphor for overcoming a terminal disease. What else, on a larger scale, could that small insect’s powerful will-to-life struggle symbolize…

3. Remember the Sabbath day, to keep it holy. A family man who goes through the motions of being the dutiful father and husband in a cold marriage is confronted by his old flame. She accosts him on Christmas Eve, which is Poland’s most sacred holiday, manipulating him into spending an entire night in pointless wandering around nighttime Warsaw with her. She has a haunting kind of beauty and is something of a femme fatale, but also lonely and despairing. He must choose between honoring the Holy night and his old passion for this woman, a feeling that is now sublimated into a sense of responsibility for her.

4. Honor thy father and thy mother. A high school girl and her widowed father had always suspected that something is not fully normal between them. She finds herself sexually attracted to him and he, as a man, sometimes can’t help but notice her precocious beauty. What they have always suspected, on a downright instinctive level, is that he is not her biological father. There is a sealed letter his late wife, her mother, had left for the young woman that will resolve the uncertainty.

5. Thou shalt not kill. This is the best-known of the “Dekalog” installments, also made into a full-length film. A young man with sociopathic impulses murders an innocent taxi driver. He is sentenced to death for his crime and executed by hanging. I am not venturing into details and subplots in any of these films, for the sake of keeping this brief. Each episode requires the length of a full blog post to start appreciating. There is a great deal of complexity behind each moral dilemma, as well as in the characters’ personal situations.

The taxi driver is not a sympathetic figure, maybe a little more so than the nasty old woman killed by young Raskolnikov in “Crime and Punishment.” On the other hand, the viewer is drawn to sympathize with the killer in “Dekalog 5.” I’ve had conversations with liberal academics in Boston, who pointed out how this film makes a solid case against capital punishment. I disagreed with them twenty years ago and I still disagree. When I watch the execution scene, I feel sincerely sorry for the kid but I am also satisfied that the punishment redeems his humanity, the victim’s, and ours.

Here is Preisner’s film score for “Thou shalt not kill.”

Here is the execution scene.

6. Thou shalt not commit adultery. A lonely, awkward teenager spies on his neighbor. She is an attractive thirty-something single woman who has many flings and boyfriends. She discovers his spying on her and catches on to his pattern of creepy and nuisance stalker-behavior. She invites him over so that he can consummate his infatuation with her.

7. Thou shalt not steal. A teenage girl and her domineering mother go to extremes in their fight over a six-year-old girl. The child is an illegitimate daughter of the high school girl and the young lady’s handsome teacher, but raised to think that the older woman is her mother. The real mother, understandably for a teenager, originally agreed to that arrangement but then changed her mind.

8. Thou shalt not bear false witness against thy neighbor. Another way of saying that, is “don’t lie.” Two women meet in Warsaw for the first time since the German occupation of Poland in WWII. One is an older Polish woman, a university professor, if I recall correctly. The other is a somewhat younger visitor from the United States, an affluent Jewish woman who survived the war as a little girl and shortly after emigrated to America. She returns to confront the other woman over her refusal to shelter her during the war. As it turns out, there is more to the story, and the original grievance is misplaced.

9. Thou shalt not covet thy neighbor’s wife. I don’t remember the plot of this one too well. I recall that it involves a well-to-do couple’s adultery. There is a sublime subplot involving the husband, who is a charming cardiologist, and his platonic relationship with a young opera singer. She is his patient, being treated for a career-ending heart condition. No doubt, a precursor-thought to Weronika/Veronique in Kieślowski later film.

10. Thou shalt not covet thy neighbor’s goods. This is a farce/comedy similar to the later “White” of the “Three Color Trilogy,” including the same principal actors. It involves the theft of a priceless stamp collection but I don’t recall it in detail.

The entire series is available on popular to-your-home streaming services, with English subtitles. Also on DVD if interested.

47 thoughts on “The Decalogue

  1. These films hold up surprisingly well over time. I think they were very much ahead of their time. Poland has always been a red-pilled nation. These “in-your-face” dramas would have been shocking in the US…and still may be.

    Krotki Film o Zabijanie ( A Short Film About Killing) #5– has that edgy, dirty feel to it and is a story in many ways without heroes.

  2. “is a story in many ways without heroes”

    Good point. One of the characters is the killer’s young public defender. He’s that anguished-looking fellow during the execution scene I linked to, and later in the country field in that video. He had just passed his bar and was assigned to defend the killer. He failed, obviously, as the hanging took place. There is a scene where he is passing his exam during which he articulates his liberal, idealistic views regarding crime and punishment.

    His law school professor, who passes him but with reservations, tells him: “you are too delicate for this work.”

    Liberal academics in Boston loved that character. Perhaps he was even Kieslowski’s avatar for liberal Western values, as the film director himself was against capital punishment, and maybe he intended for Dekalog 5 to convey that message. But the professor was right. The idealistic young lawyer was too delicate for the reality of crime and punishment. The young woman I watched the movie with two decades ago simply said: “they guy is a pussy.”

    Like you said, no heroes in this one.

  3. Thank you for these prompts.

    When the films came out, I had not grasped both my heritage and my faith.

    I am further along in both now.

    Dziękuję bardzo.

  4. @PA Another observation on the “no heroes” strand. The story stands on its own because everyone is Polish ie “White”. The crimes he commits are horrific, brutal, senseless, wanton.

    Imagine a remake of the SAME film word for word but the murderer is “brown”, “Black”, “trans” , refugee or some other member of a “protected class”

    Suddenly you can see those horrific crimes being pushed into the background and the “hero” becomes the murderer.

    This is “Clown World”…

  5. Before reading any of these, I wonder if they compare in any way to the tricolore series “Red”, “Blue”, “White.” I watched those when I was a young adult, full of inquisitiveness but not trained in discernment or wisdom.

    How frequently do you find yourself admiring the vigor of our young while also regretting that they are allowed to vote?

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  7. Oh wait. I’ve seen these. I remember the ice thickness calculations. It stopped my heart. It was all the more despondent because it was in the context of communist housing projects. The poor kids, desiring to feel the freedom of youth, wound up like this. Not even the state-approved ice thickness is safe.

    This kind of thing really gets to me. Kudos, filmmakers. You had one job, and you performed it well.

  8. When these movies came out, there was not even a blue or red pill to take, let alone black or white. As much as I cannot stand the internet, I appreciate what it has done.

  9. I have to confess, I was raised to see Poles as the butt of jokes. These cerebral artistic endeavors redeem the Poles in my mind. If ever you were behind, it wasn’t because you lacked anything other than freedom.

    And then we get to other butts of other jokes. The Africans were savages who would boil you in a pot and sprinkle you with salt, the Disney cartoons taught me. Still haven’t seen them redeem themselves, unless you count their telling me I’m evil for noticing their history.

  10. That execution scene should be required viewing for all. Oh, the deep, deep sorrows that must attend civilization.

    Another reason women are not qualified to vote.

  11. ^^Kapatin hook-hukck, you can BS with the best of’m. But you can’t quite keep stride with the Tex-Mex. My commentating-carreer here’s arrived at a yachtsman’s finale. ” L’Fin. ”

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  13. Why don’t we do it in the road. If it feels good do it. Participation trophies for everyone.
    Two plus two equals pancakes in the doghouse. There are 47 genders.

  14. I have rewatched episodes 1 and 2 many times as I work my way through these masterpieces. I’m glad you mentioned them.

  15. Thou shall not kill should actually be worded as “thou shall not murder”
    Killing is not prohibited nor frowned upon in the bible.

  16. I’m probably not alone in having many beloved films I’ve seen multiple times, but not in fifteen years. This seems to be a curious part of aging that has no obvious physiological basis (but perhaps it might) and confirms that ominous acceleration of time with age.

    In hale youth, the idea of passing a single year without rewatching–Lawrence of Arabia, or The Godfather, or Blade Runnner–would have seemed scandalous. But at 18 or 20, how long had one known those films for?

    Recently I rewatched Fanny and Alexander for the first time since, at the latest, 2008. And this was the 3 hour theatrical cut and not Bergman’s preferred 5 hour version, which was the last I had seen, viewing it twice somewhere in 2006-08. The shame of the passage of time was given added sting by the demotion in version viewed.

    Even the fact of “only” seeing the longer version twice, against the double-digit viewings racked up from the mid-90s, says something about the changing of habits.

    These changing viewing habits are a phenomenon I saw attested to, in all places, in one of Mom’s Elle magazines in the mid 90s, where the editor wrote a piece about how as a teen she sat in the theatre for three consecutive viewings of Bertolucci’s “1900” [this, admittedly, would have been the 4 hour version and not Bernardo’s preferred five hour cut], whereas “now,” she confessed, she doubted she could sit through it once. Old people! I thought. But now–not always, but often–I struggle too.

    I’ve never seen any installment of Dekalog btw, but it’s reputation precedes it.

  17. Last night I finally saw Rio Bravo for the first time–something which, given Robin Wood of all people called it the greatest movie ever made, filled me with dread anticipation. Did I enjoy it? Quite a bit. Do I want to watch it again? No. Would I watch it if it were on TCM? Likely. Could I stand myself if I happen never to see it again? Yes.

  18. That musical interlude sort of sums up my ambivalent responses to the film: as I watched it, I was thinking to myself

    otoh: This is a film all about camaraderie. How it works, it’ ups and downs, how it is earned, how built up. And these characters, in all their ramshackle ways, are finally at peace with themselves and they’re about to finally end all this mayhem and it’s a halcyon moment for them and you can feel this surge of optimism and togetherness, and it’s well earned.

    and ototherh: This film is over 2 hours long, and the “story” such as it is is rather thin to begin with. And though there are suspenseful scenes and you’re interested to see how “John T.” will get out of them, it already feels a bit stretched thin even without putting on one and a half songs just to show how Dean Martin and Ricky Nelson can sing because, you know, they’re singers.**

    It’s an easily loveable film, yet after watching it I feel oddly resistant to it because it feels like loveability is all it has going for it. Given its reputation, I confess I expected to feel more. It’s almost like the Western equivalent of an MGM musical, even without the singing.

    Angie Dickinson was a hot babe then, and her budding relationship with Wayne is terrifically game-y, with one particularly immortal exchange between them in their final scene. Even so, there’s a garrulousness in their exchanges which, like the interactions with Stumpy, gnaw at my patience.

    ** in the film’s favor, it waits to dump all the singing in one final interlude, which oddly works in its favor. I think if the oldtimers had invited Ricky Nelson to sing at the 30 min. mark I would’ve really tuned out.

  19. Since we’re on the subject of story telling / movies / religion, I present to you one of the greatest ironies of human history. It looks like a white man, and by all my research he was , founded a religion which might ultimately go on to destroy Western , if not all, white civilization.
    Who says the creator doesnt have a humor ?

    – Muhammad: The White Prophet with Black Slaves –

  20. — I’m probably not alone in having many beloved films I’ve seen multiple times, but not in fifteen years. This seems to be a curious part of aging that has no obvious physiological basis (but perhaps it might) and confirms that ominous acceleration of time with age.

    You and me both Lucius. I in fact bought the complete Decalogue set on VHS in 1999 or thereabouts. A nice box set, with English subtitles that were helpful when I had an interested friend over. It cost $100 then. I’d also pop an episode in to my VCR whenever mood struck, the same way I now play a song on YouTube. LOLZZZ, what’s a VCR? I still have the Dekalog box set on my bookshelf.

    Stream-to-your-home services…. that’s how I’ll watch Climax in the very near future. Your and Elk’s reviews are appreciated.

  21. A few more words about one of the episodes, Dekalog 6 in this case. Spoiler – but it isn’t a big deal, these aren’t suspense stories.

    “Thou shalt not commit adultery.” A lonely, awkward teenager spies on his neighbor… She invites him over so that he can consummate his infatuation with her.

    With the little plot info I provided it reads like an unrealistic fantasy but there is more to this. The dynamic between the stalker-teen and the woman is twisted. He works as a window clerk at the post office where she regularly comes in to pick up something that is important to her. Don’t remember what it is; I think it’s a royalty check from abroad, as she’s a painter on the arts scene, running with that crowd, hence her loose and “modern” lifestyle.

    So this stalker-boy keeps her mail and lies to her that it’s been lost. It’s obvious to her that he’s lying. There is something so endearing innocent about the way he lies to her. The actor’s skills are to his credit, the way he just makes that boyishly earnest face, afraid and hopeful at the same time.

    Infuriated, she makes a fuss with the post office manager. But the manager, a cunty, petty-dictator fat female bureaucrat, screams at her and kicks her out of the post office. That scene, by the way, is an illustration of what the film’s original audience at the time was very familiar with, which is those pig-stupid officials of the Communist era who had the power of absolute dictator in a million little aspects of life.

    So she decides to take things up a notch with the stalker-boy. First, she has one of her caddish arts-scene boyfriends beat him up, but that doesn’t change anything. So she decides to go thermonuclear and lures him into her apartment. As an experienced sexual woman, she has this pathetic virgin boy exactly where she can inflict maximum hurt. She’s wearing a big blouse and nothing else as she begins whispering seductively into his ear and works him up into a premature ejaculation. Then she laughs at him cruelly. Soul kill-shot.

    Kudos to the actors. It’s an extraordinary scene. He is heartbroken to his very core. There is something incredibly pure about him at that moment. In fact, there is something incredibly pure about him all through the story, as you now see it. He is not a bad looking boy either. Gentle face, blond, awkward, very shy-looking. And she now knows that she just did a terrible thing.

    This is all nonverbal acting. She glimpses Platonic Love in this sordid situation. All those years of having her exciting lovers, all that travel abroad, all the affairs and fun, yet this the only time in her life that someone in fact loved her. That sorry creep, that’s what her life amounts to at near-forty with all of her beauty and talent. But whatever vessel that love came in, it was pure and true. The only one that she ever knew and she stomped it out.

    She got what she wanted. The boy wants nothing to do with her anymore. You feel bad for both of them in that scene. The next, final scene is remarkable [nothing melodramatic or violent or anything like that]. It makes you think about what is meant by “Thou shalt not commit adultery.”

    No heroes in this episode either.


    Also, “4. Honor thy father and thy mother.”

    That episode could have been repellent with its latent incest theme but it isn’t at all like that. I won’t spoil this one. Much of the credit goes to the actors. In all ten installments. It’s obvious that they got their roles by being picked from the top of their film school, not thru a weinstein casting couch.

  22. “. that’s how I’ll watch Climax in the very near future. Your and Elk’s reviews are appreciated.”

    –I had a hopeful hunch that this exercise in film commentary might be some sort of a run-up to diving into something new.

    I’m still dutifully closing my eyes to all Dekalog commentary, and some readers might feel honor or pleasure-bound to do the same should you give “Climax” the same treatment. However, I encourage you to discuss/disclose key points as your own judgment sees fit. There are extraordinary moments of dramatic and thematic shock which in one sense would be greatly lessened by the viewer knowing what to expect. But then, these sorts of things are unpredictable: some “puzzle films” or mysteries or what not one can see knowing nothing, and others knowing a lot or even “everything” and the mesmeric effects can be comparable. **

    And frankly, as elk’s response indicates, not many people are going to line up to see the film idly or on our recommendation. The fact of its existence and the depth of its cataloging of multicultural evils (with insinuations of Ill*m*n*t* demonism on top) is itself so worthy of comment that I hope the entire Alt-Right will become very aware of this film, if only by reputation or “meming” its key concepts.

    I’ll try and watch it again in the next week too. I’m constantly “on alert” to go back and reimmerse myself in its Dantean catharsis.

  23. ** I’ve become obsessed the past year with a “black box” question of film perception. Namely this: the intuition that one cannot recall after the fact what one was really feeling or anticipating during the actual viewing of a film for the first time.

    The “film viewing experience” that you take away (from a first viewing) is in some inscrutable sense a “construct” that doesn’t correspond to what you were feeling or what your mental commentary track was during the film itself.

    One of my plagues as a filmviewer is that on a first viewing everything can seem to happen too “slowly.” Not that a film is boring me, but that there often comes a sense of “geez, we’re forty minutes in and this has seemed like a long time–what’s the next 90 mins. going to be like?”

    One of my most consummate experiences of this came last autumn with my finally taking the hugely anticipated plunge to watch Edward Yang’s 4 hour Taiwanese epic “A Brighter Summer Day” knowing nothing of the film’s story. A half hour in I seriously contemplated abandoning it and feeling proud of myself for scorning the excesses of arthouse cinema. An hour in I felt confident this was turning into something awesome. But the particular kind of “something awesome” I thought was coming never happened. At the climax of the film I was yelling at the screen derisively. That night I sulked and fumed over the ludicrous bait-and-switch of highbrow critics high on their own pretentious, expectation-denying tea.

    I awoke, still fascinated and repulsed with the weary spectacle of my gargantuan, patience-breaking disappointment. Masochistically I resolved to watch this four hour behemoth again. And I fell instantly, absolutely, so madly in love with this film that I am half persuaded it is the very greatest film ever made. My second viewing soared me into ecstasy. “A Brighter Summer Day” is miraculous.

  24. The Decalogue is on my list. The subtitled versions might be hard to find though. For instance I downloaded Climax as a torrent file, and it turned out NOT to have the subtitles but then found it WAS on Amazon Prime, w/ subtitles.

    Torrent files from Pirate Bay seem reliable, but who really knows. For the smart cautious but otherwise boomer tech challenged user: it’s probably maybe a good idea to get torrents using 1) a set aside computer, and or 2) a trustworthy VPN.


    On another note, yesterday’s FTN was a solid treatment of Coronavirus by Jazzhands and the other guy (his new cohost). They excoriate Trump and Pence for their handling (not handling) of the situation.

    They cited some official source from Hong Kong maybe it was, that predicted that worldwide infection rates will eventually reach 60 per cent! Uhh that’s pretty high

    My concern about it, is that it preliminary indications, albeit rumors, seem to would indicate that it’s one of those infections that once you get, it never really goes away, and further, it’s long term effects (on a body) are totally unknown (at this point, at least to us). It could be one of those illnesses that is permanently debilitating.

    My predictions tend toward the alarmist, but I think this is it, the big one, the black swan. It’s gonna be

    1) 40+ per cent worldwide infection rate, within the next two years
    1a) Airborne infection
    2) Mortality rates around 2 per cent
    3) Life long debilitating effects, on those infected, that never go away

    4) Is it, or not, race-specific? Is this question even answered yet?

    The larger questions are what will be its effects on the superstructure of globalism?

  25. Back on the serious; my prediction for mortality rates is 1 to 2 per cent. Not so much to nitpick, as to raise the question though, of how accurately those mortality rates will be measured.

    Even if this is as bad as, say my prediction above, it’s the two-pronged attack of it. The insult on top of injury, as it were..

    The INSULT of it being our Superstructure and its utter failure. We don’t even have a Superstructure, beyond what is Globalism and everything that entails, which is that we are cattle.

    Which insufferable inhumanity (of globalism as it stands) is the reason why Whites have to emerge as power players not just in their own nations, but on the global scale. That is, if we are not to retreat back into our villages, and nation states. Which latter vision of de-scaling and retreat is the default assumption of ethnonationlists and Kunstler-style doomerporn fans; but which in my opinion is not a good default assumption.

    I think globalism will remain, indefinitely, as the default Scale on which our fate is hinged.

  26. And finally, to pose the eminently practical question: What will you do, when they (“they”) come up with a vaccine for it? Say it gets bad and a lot of people are suffering; not necessarily so bad (yet) as predicted above, but bad enough that infection seems likely and people are dying and suffering.

    And They have an exciting new vaccine that everyone is supposed to get. What are you going to do? Obviously such questions are fairly meaningless in the hypothetical. Otoh I probably would rather go W/O the vaccine; then again maybe not.

    I am of the camp that vaccines are not malicious, but rather careless. It’s not the America of 50s, where the good doctors and supervising Superstructure are looking out for you. And during which time, it might be pointed out, they weren’t looking out for you much good anyways..

  27. I had the gist of Decalogue 6 plot right in the above comment and its philosophical meaning, but was off on some important details, as well as forgot a few things. For example, the boy’s age was 19 as it turns out; the actress who played the woman he spied on was 35 when the film was shot. Also, he didn’t hide her mail; he sent her fake money order notices to lure her to the post office.

    Also, as I now recall after reading the plot summary, the story was more human than in my earlier/above recollection. For the record and in case anyone is curious, here is the plot summary:

  28. Tfw u make some posts, and then PA makes a post, and then no one after that


    This is a nice time of year to walk your dog except for that dog shit from the whole winter is all over the place. You really have to keep your eyes on the ground, to avoid stepping in it.

    It’s pretty gross. Some of those dogs shit lie champions. I guess if you are dog, and only get to poop once per day, and sometimes hardly even that: you end up sometimes taking really big ones..

    On the part of the owners though, it’s horribly irresponsible not to mention discourteous to the extreme. I know the type of people who walk dogs on these trails; they are White suburban dog walkers, and apparently a good portion of them figure that the rules don’t apply to them. It’s unbelievable (except for that it’s not): people always be making for themselves a “special exception.”

    The other detail of note, on this story, is the municipal services are so above average, in this suburb, that they go around the popular park trails this time of year, and mark the dog dumps that are in a partial state of dissolution in the melting ice on the trail, with red spray paint, and then go around and scoop them up, as they can. So half of them are scooped up, and half of them are stuck in the ice.

    Obviously we have to thank the lowly municipal service workers, the rookies no doubt, who draw this lot in life. I am actually planning to apply for this job, for their seasonal openings in the summer which pay 14.x per hour and which applications are coming online shortly. I don’t think they scoop dog poop in the summer, but apparently and come to think of it, they probably do.

  29. This is meant as entertainment posting, but whether or not it rises to that level, remains to be seen. It begins as follow: “I have a problem.. ”

    I have written about this exact thing, two times, here at PA’s blog. And it may in fact be a trite observation. It’s simply that people in cars driving around in the suburbs, are looking at other people in cars as if they are looking for someone.

    / scene: that’s it, that’s the observation

    I figure that it’s part of what Uncle Ted called oversocialization. I am remiss and haven’t read Ted’s thing; sorry. But oversocialization, in its subjective experience, is of course and ironically or not, undersocialization. People everywhere but no one getting enough meaningful connections.

    This isn’t news. It’s just how it plays out on the road. I find it distracting af, but then again it’s part of my personal problems in that I am somehow involved in it, in my own subjective experience looking for something, and or being too sensitive to other people’s eyeballs. On the one hand, I know for a fact that other people experience this; but on the other, it’s a mark of someone not having attained a level of socialized balance, or however you wanna put it.

    And of course, as in OF COURSE, it’s women who play into this dysfunctional social behavior, and the men they can get to play along with them; the men they can bring down to their level.

    But consider by way of example, driving a big truck in a busy intersection situation. Among men, and especially among working men doing a job, but really all men driving on the road are “on the job” in the sense that the number one thing is not to accidentally kill someone else’s kids — in this situation it’s bad form or worse, “queer” maybe is how it used to woulda been called, to look at someone else driving, to any extent that would distract them, from safe driving. You obv look at other people in order to make eye contact for other reasons..

    It bugs the fuck out of me, frankly, how the women stare..

    As a behavior, in my opinion, it’s a part of unchecked behavior that women get away with. They are staring and being provocative, as much as possible and as a matter of course. This is a given, right? How it plays out in my experience is on the roads at busy intersections, with busybody unsatisfied women looking for a face. That’s the motherfuckin’ phrase of it: looking for a face.

    That was one of about fifty album cover names, or movie title names, or book title names, I came up with, before deciding to make this post. Now it’s a post title name and so it remains. Thx for reading.

    I know that among self-actualized, real world story boomers such as LBF and others who shall remain unnamed [Deter Naturalist], they don’t wanna hear these problems. It sounds suspiciously like womanly complaining. I like to think it may have some value, but frankly the jury is out, on that..

    Of course the joke is on you, now, for having read it.

  30. Can something like that be quantified?

    Women in cars at traffic lights. Men in cars at traffic lights. Looking “too long” at the available faces in the other cars at the intersection.

    I realize, that in its description, it seems pathological and dysfunctional, and of course it is. But there IS such a thing as staring, and there is such a thing as unwanted staring.

    Stare much?

    Remember that phrase, from the 80s?

    There is such a thing as the Halo Effect. Pirsig wrote about, Tom Wolfe wrote about. It’s not exactly cool to talk about it, because most people won’t be able to relate, and many will write it off as delusional: Oh, so you think people are staring at you?

    As soon as complain about it, it’s like going into a doctor’s office: you have a complaint, and that in itself is a sign of something-not-right..

  31. “looking for a face // That was one of about fifty album cover names”

    I started playing a song I hadn’t heard in a long time, by an artist I never go out of my way to play, just before I refreshed wordpress and saw that comment. That song is Billy Idol “Eyes without a Face.”

  32. Hope you guys do get around to seeing the Decalogue. I haven’t checked, but Roku, Netfags, Amazon and such might have it available online/streaming, with subtitles. Public libraries might have it or be able to order it.

    Below is a video I just found, from 2017. A man who says he’s starting a career in film took a trip to the apartment high-rise complex where all the action of the ten Decalogue episodes took place. He’s right there in that neighborhood, talking a bit through its history and context.

    At the initial instant, I thought he’s American but he does have a slight accent [stronger than mine, mine is barely perceptible, if that]. Best I could tell, he’s a native French speaker who speaks near-perfect North American English. He does later say he’s from Toronto.

    Anyway, a nice short video to see if you plan to see the Decalogue.

    And speaking of the apartment complex…. JJ in his comment above notices its bleakness. That certainly is the intent in the cinematography, but it’s not at all like that. Those apartment blocks were coveted when they were built, in the mid-1970s I think. Warsaw as we know was razed in 1944, and most of the residential construction in the 1950s was what it was. So those newer apartments were considered luxurious. I remember them as being nice. I’ve in fact been to that neighborhood all through the late 1970s. One of my relatives from the achieving/striving side of my family lived in one of the apartments there then. They and their kids/grandchildren no longer live in an apartment, but I think they still own their original flat as rental property.

    Anyway, thsoe apartments look nice in the Canadian commentator’s video.

    He remarks that Poland in the late 80s, when the Decalogue was filmed, was going through a moment when the general mood was one of waiting, anticipating an end to the present system — the state was bankrupt, the government had no legitimacy in the people’s eyes [not his exact words]…. I wonder what big country is like that now… .

  33. Not bleak? This is an important eye-opener, a reminder that we all are victims to some extent of propaganda, brainwashing, outgrouping, whatever it’s called in the situation. I retract my uninformed statement and embrace that there are so many other stories that I would benefit from hearing.

    Just not in that smug female leftist postmodern “this month is X minority history month, so take that, evil straight White Christian males!” fashion.

    Freakin leftists have to ruin even honest introspection and personal growth. But I digress.

  34. This is the description of what I was trying to get at. This take from a BBS commenter. He is talking about the high status super bitch who just dropped out of the race, Amy ‘hideous cryptojew and alternately aka the dogface’ Klobuchar.

    This woman is some kind of idol to fat, aggressive Minnesota urbanite shitlibs. I think she is so stupid and autistic that she thought that meant she’d be popular everywhere.

    She rolled in her Minneapolis elections because that entire city is filled with fat, angry, dog-faced pony soldier slobs of cunts who fail to shower regularly and then want dominate men and be needlessly rude and hostile to them 100% of the time because of some endocrine imbalance.

    The thing she didn’t realize is that Minnesota is the most thoroughly cucked, Swedish, matriarchal state in the US (mostly on account of MSP, but there are strong Scandinavian tendencies towards matriarchy and passive-aggression everywhere). She was never going to get much support among normal people.

    Stupid bitch. 😂

    WhiteShariaMarine19, I salute your descriptive powers. And but also otoh be warned, one day you too will be on this side of old, and hardly able even to fight back! (and yeah it sucks)

    But that’s what my complaint is about, that you can’t go about the daily business of your life, which in addition to complaining includes driving around and walking the dog and going to the store blah blah blah, w/o these battle-ax cunts, getting in your face and trying to knock you down to size for merely having the balls to dare and try and present as a, uh, man. Which is to say by not displaying signs of submission, in the usual forms of body language displays, such as taking up space and the rest of that sperg shit.

    And honest to God, it’s likely the case, that MN is worse than other places, in re to this. See for example Amy Klobuchar, and the rest of the pols that get elected here. They are even worse than average. Jesse ‘comic book superhero dimplechin’ Ventura, being the counteracting opposite, is part and parcel of it though too..

  35. There’s a song by ‘not everyone’s favorite jew’ Bob Dylan that I recommend.

    It’s apropos our dire straights. It’s about the coming flood, which has been something he has written about. It’s called High Water and it contains the lyric that he’s giving the women lots of room. I find that advice to be the best and only, effective personal reaction to how they DOMINATE what’s left of what would be the social space.

    You can’t beat them. Metaphorically and actually; you can’t beat them. I don’t like to patriarchy post, but it is what it is.

    On the mentioned Dylan song, I could never get that finger picking guitar riff down well enough to pass for “studio quality.” Just sayin’.

    He says in that song that the all the gold and silver is being stolen away.

  36. I also enjoyed the description and can appreciate how irksome the dog pony faced MN “woman” can be

  37. Definitely. One of those sketches that stays with you. WhiteShariaMarine19 has a good eye and a way with character study.

  38. — Not bleak? This is an important eye-opener, a reminder that we all are victims to some extent of propaganda, brainwashing, outgrouping, whatever it’s called in the situation.

    JJ, good point. Motivated me to look up a bleak-landscape scene from Dekalog 1, and contrast it with a contemporary Streetview of that same spot. Film filter plus overcast winter vs sunny day spring make a huge difference, for one.

    Here is the 1988 landscape from the opening scene in Dekalog1:

    Here is that general area in 2013 Streetview:,21.03487,3a,75y,234.72h,100.17t/data=!3m8!1e1!3m6!1sAF1QipPProqfUDyUZ9jJ2mQyby1wSmgUTbgVwJ2MwtzY!2e10!3e11!!7i4264!8i1713

  39. Great contrast! I have to confess though that, growing up in the cold war, I learned to associate that kind of architecture as Communist Bloc, and those words meant “miserable people.”

    Again, the brainwashing. You were the bad guys, and the good ones among you were the victims of the bad guys. Governments always have to dehumanize the Others before our public is willing to go to war against them.

    We see this in how Whites and men, and especially straight White masculine Christian men, are being portrayed in the (((media))).

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