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No End
No End
1985
Drama
1h 47m
It's 1982: Poland is under martial law, and Solidarity is banned. Ulla, a translator working on Orwell, suddenly loses her husband, Antek, an attorney (imdb)
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No End
1985
Drama
1h 47m
Your probable score
Avg Percentile 62.12% from 343 total ratings
Ratings & Reviews
(343)
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Rated 03 Sep 2020
61
28th
She's translating Orwell while he's a recently deceased Public Defendant - will they have chemistry? Well, no. This is the point in Kieslowski's work where I begin to understand less and less what's going on politically, and here the personal story isn't effective enough to win me over.
Rated 03 Sep 2020
Rated 24 Jan 2007
64
23rd
One of my least favorite Kieslowski films. The politics were very confusing to me, I was far more interested in the deceased husband and his family. I'm sure there's supposed to be some kind of connection between the stories/themes but I'm afraid it was lost on me. Maybe you've got to be Polish to get it.
Rated 24 Jan 2007
Rated 03 Mar 2012
82
81st
İstanbul Modern - İkinci İzleyiş 13.02.2014: Çift koldan anlattığı iki öyküyü, zorlama bir şekilde bağlamak yerine, birbirlerinden bağımsız şeklinde anlatmayı tercih etmesi cesaret işi. Kamera mekanlarda süzülerek gezerken yaratılan rüyavari atmosfer, aslında bu kadar sert gerçekliğe dair konuları işleyen böyle bir filme farklılık katıyor.
Rated 03 Mar 2012
Rated 02 Dec 2009
70
22nd
Nearly impossible to grade for me, as I'm still in the very early stages of delving into Polish history, and have no real context to place the events of this movie in. I'm sure a Pole, or someone more familiar with the real-life events that the film uses as a backdrop, would have a much stronger reaction to this film. As someone who came into the picture with only a passing familiarity with Solidarity and the Gdansk strikes, I wished that more time was spent with Antek and his grieving family.
Rated 02 Dec 2009
Rated 29 Oct 2022
76
38th
An intriguing but dry blend of personal and political grief. Very bleak and angry with well-handled metaphysical elements.
Rated 29 Oct 2022
Rated 25 Aug 2022
53
7th
or at least it felt like it wasn't going to
Rated 25 Aug 2022
Rated 01 Apr 2015
69
48th
Kieślowski‘s visuals are usually catchy but that’s not the case for this film. No End is vague and sad on all levels. Seems that nothing is achieved by no one under this totalitarian government and I think he meant it that way. However, as an individual who lives under a dictatorship, I wasn’t convinced or touched. Antek’s starting monologue is intriguing though.
Rated 01 Apr 2015
Rated 06 Aug 2021
70
45th
7???Zbigniew Preisner??????Kieslowski???????????????
Rated 06 Aug 2021
Rated 06 Jan 2012
70
88th
Any decent transfers, any transfers ever...
Rated 06 Jan 2012
Rated 18 Sep 2015
66
64th
Here Kieslowski is still searching for the right balance between metaphysical, political, and personal themes, and succeeds mainly when focusing on the latter of the three. To a surprising degree it feels like a warm-up for Three Colors Blue both thematically and aesthetically (albeit far more somber and pessimistic), and would make for an interesting companion piece as such (there are also vague hints of Wings of Desire, although these feel more coincidental).
Rated 18 Sep 2015
Rated 14 Aug 2007
90
72nd
Fantastic acting, and some truly haunting images, particularly the close up of Ulla's face as she lights matches at the memorial.
Rated 14 Aug 2007
Rated 21 Oct 2007
84
75th
There's a great atmosphere to this film, even if it doesn't always feel whole. As Kieslowski says himself about the film, the seams between the different stories are apparent. The seriousness with which death is dealt transitions well into the seriousness of the social situation in Poland in the early 80s. A bit more connection between the widow's story and the political story would help here, but I like the attempt to blend the personal and the political.
Rated 21 Oct 2007
Rated 13 Feb 2015
70
50th
No End is both expected and peculiar in Kieslowski's oeuvre as it contains both a humanistic drama and a legal/political one, but these two stories are separate and merely intertwine with a set of linked characters. One half displays the struggle of a woman grieving over her dead husband, while in the other a lawyer defends a man arrested for starting a strike. The "ghost story" of the first half brings Kieslowski's Catholicism to light which had otherwise stayed out of his work. Mostly typical.
Rated 13 Feb 2015
Rated 28 Feb 2021
95
83rd
yine dokundurdu bizlere reyis
Rated 28 Feb 2021
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