
Filip buys an eight-millimetre movie camera when his first child is born. Because it's the first camera in town, he's named official photographer by the local Party boss. His horizons widen when he is sent to regional film festivals with his first works but his focus on movie-making also leads to domestic strife and philosophical dilemmas.... (Full plot summary below)
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Filip buys an eight-millimetre movie camera when his first child is born. Because it's the first camera in town, he's named official photographer by the local Party boss. His horizons widen when he is sent to regional film festivals with his first works but his focus on movie-making also leads to domestic strife and philosophical dilemmas.
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| Not Coming to a Theater Near YouLeo GoldsmithAs one character puts it, "filmmakers are service providers," and despite the unromantic tone of such a designation, this seems to be very near to Kieslowski's own view. |
| Chicago ReaderJonathan RosenbaumSuffused with Kieslowski's dry wit and intelligence, this early feature provides an excellent introduction to his work. |
| CinemaniaDan JardineClearly a bit of navel-gazing on Kieslowski's behalf; in fact, the film is self-deferential to an almost painful degree |
| CinePassionFernando F. CroceKieslowski lays the foundation of robust realism and takes off in a search for transcendence |
| The Retro SetNathanael HoodCamera Buff neatly juggles both Kieślowski's artistic vision and the ubiquity of Polish politics in Polish art. |
| Ozus' World Movie ReviewsDennis SchwartzThis is a political spoof on the limits of the artist's role in Communist Poland. |
| New York TimesVincent CanbyMuch of the film means to be uproariously emotional, but the events we see seldom justify all the overwrought reactions. |
| User Reviewjuliana sPara os que conhecem o trabalho de Krzysztof Kieslowski por sua última obra, Trilogia das Cores, O Amador difere ao trazer um dos principais elementos do diretor, a simplicidade ao retratar as emoções humanas nos mais diversos contextos. O filme narra a história de Filip Mosz, trabalhador da maior indústria de uma cidadezinha, que compra uma câmera para filmar os primeiros momentos da recém nascida filha. No entanto, o encantamento que o cinema exerce sobre Mosz e a comunidade começa quando ele é chamado para filmar um grande evento da companhia e passa a filmar tudo ao seu redor. Apesar de focar no impacto da máquina, a obra se revela uma das mais transcendentais de Kieslowski, retratando o início do cinema universalmente com, por exemplo, analogias a Lumière, como as cenas da fábrica e da chegada do trem à estação. Apresentando os impactos da sétima arte com caráter autobiográfico, O Amador mostra, de maneira fascinante, até onde afastamento da vida real de um homem pode levá-lo. |
| User ReviewEdgar CEvery auteur has his/her own way to express his/her love towards cinema. We've had several testaments, from 8 1/2 to Pastoral: To Die in the Country, from La Nuit Américaine to Terror Firmer (haha). Camera Buff emanates love and passion in every frame, and tells us about the consequences such life may unleash along the way, both personally and those regarding people directly and indirectly involved with one's life. As far as my experience has gone, I have not encountered a better Kieslowski masterpiece than this one. He must really have gotten very excited to have Krzysztof Zanussi in his film. Alternatively, Zanussi must have been intelligent enough to see promising talents in Kieslowski, just like fate stumbles upon Filip Mosz (Jerzy Stuhr) without previous warning. 99/100 |
| User ReviewJohn AMy favorite of Kieslowski's early fiction work, CB presents a portrait of a filmmaker passionate pursuit of his art--from merely learning about the camera to his growing obsession with his art, from fighting for the purity of his work to understanding the fundamentally personal nature of each film he produces. Kieslowski beautifully shows Filip's artistic awakening as a counterpoint to his struggling marriage, refusing to offer easy solutions or empty platitudes to the film's central paradox. |