Dekalog

I watched Dekalog for the first time in 2005, and it really struck me. I’m interested in similar themes, though not from a religious standpoint. I’m fascinated by what people believe, how they create their own rules and codes of behaviour to live by. I relate to Dekalog because I have my own rules and codes for life and filmmaking. My films often feature characters whose actions don’t quite conform to their society’s moral code, just like the people in Dekalog.

I remember Dekalog very clearly... What I love about it is how it deals with moral dilemmas in everyday life... I think it influenced my desire to make films that challenge the audience’s moral compass.

Kieślowski is an important director for me. 'Dekalog' has a very important part in my formation.

The Decalogue, for me, is extremely important. It's a film which I have seen many times and every time I learn something new. Especially the way he looks at human beings and their dilemmas without judging them. This is something that I always try to achieve in my own films.

Demy taught cinema that tone could shift like weather, that a film could move from musical joy to genuine melancholy without losing its coherence, that romance and disappointment could coexist in the same frame. The Worst Person in the World absorbs this completely. It's a film about a woman's twenties, which means it's a film about promise and compromise, desire and accident, the moment when spontaneous life becomes something more complicated. Like Demy, Trier treats small choices and small ruptures as genuinely devastating, and the city (Oslo, not Cherbourg) becomes a character that mirrors her changing emotional weather.