Abstract

This article revisits Krzysztof Kieślowski's films in light of Gilles Deleuze's writings on cinema. Its central argument is that, while Kieślowski's films register what Deleuze calls exhausted life, or la vie épuisée, they also offer an affirmative response to exhaustion. Deleuze's articulation of exhaustion in the context of film emerges first in Cinema 2: The Time-Image, where the term is posited as the denial of life's capacity to transform itself. In the context of Kieślowski's films and the communist milieux from which they emerge, exhaustion as a film-philosophical concept acquires a socio-political specificity otherwise lacking in Deleuze. Kieślowski's films thus provide the basis for reading exhaustion as an affective correlate of what Deleuze famously calls the “crisis of the action-image”. Stressing Kieślowski's resistance to the hegemony of exhaustion – and what the director calls a “world without representation” – this article emphasizes films such as From the City of Łódź, The Scar, Camera Buff, Three Colors: Red. Reading Kieślowski and communist Poland's repressive socio-political context in light of the Deleuzian sense of exhaustion vivifies the affective dimension of the director's oeuvre. Surveying the director's earlier documentary work, his decision to transition to fiction, and his reflections on ethics and politics, this article concludes by arguing for the generative, life-affirming character of Kieślowski's cinema of exhaustion.