where she sees Tomek sleeping, his wrists still bandaged. The godmother prevents her from getting too close to him—even preventing her from touching his bandaged wrist. Noticing the telescope, Magda looks through it toward her own apartment and imagines what Tomek must have seen that night, watching her come home, spilling the milk, and weeping over another failed relationship. Then she closes her eyes and imagines Tomek in her apartment with her, reaching out to comfort her—and she smiles. Cast Grażyna Szapołowska as Magda Olaf Lubaszenko as Tomek Stefania Iwinska as Godmother Piotr Machalica as Roman Hanna Chojnacka as Miroslawa Artur Barcis as Young Man Stanislaw Gawlik as Postman Krzysztof Koperski as Gasman in Magda's Apartment Production Script The film is based on Kieślowski's Dekalog: Six, with minor changes and expansions to the script. The most significant change is to the ending, which was rewritten at the suggestion of lead actress Grażyna Szapołowska, who wanted the film to have a "fairy tale ending". The original version ends with Tomek back at work, recovered from his attempted suicide, and telling Magda that he does not watch her anymore. The film ends with Magda's more developed concern for Tomek mirroring his earlier obsession with her. The film concludes in Tomek's room after his return from hospital. She looks through his telescope into her own apartment and Kieślowski replays an earlier scene of Magda crying in her kitchen, which had led Tomek to reveal his feelings to her, only this time she is joined and comforted by Tomek. Like Kieślowski's other Dekalog films, it features the mysterious angelic Man in White. Filming locations Warsaw, Poland Reception Critical response A Short Film About Love received very positive critical reviews, with many of the critics noting that the film points to Kieslowski's later masterworks. In his review in The New York Times, Stephan Holden wrote that the film "which has rich, subtly shaded performances by Mr. Lubaszenko and Miss Szapolowska, has a bleak eloquence." In his review in the San Francisco Chronicle, Edward Guthmann called the film "well-crafted and satisfying" and prefigured Kieślowski's film Three Colors: Red. Also reviewing at the San Francisco Chronicle, Gary Kamiya wrote, "Kieslowski has crafted a compelling portrait of love, that weed that forces its strange way through life's hardest cement." In his review on Cinema Sights, James Blake Ewing called the film, "a complex and perplexing examination of a