Krzysztof Kieslowski's documentaries have an immense aesthetic and moral value, and they can stand on the same level with his magnificent work in fiction. On the pages of this concise monograph, Nikos Savvatis, Dimitris Kerkinos (editor of this publication), Lefteris Adamidis and Vincent Amiel attempt to detect the reason why Kieslowski considered the documentary form a kind of cinematic trap and moved on to fiction cinema. The answer might be hidden in the tears of the (real-life) couple in First Love.
