Richard Williams pays tribute to a master of modern European art cinema: True colours (The Guardian, 11/3/06)
When Krzysztof Kieslowski died on March 13, 1996, it was as though a certain kind of cinema had come to an end along with him. The calm, reflective, compassionate gaze he brought to bear on the dilemmas faced by his characters made him the most humanistic of film directors.
This view was echoed by Geoff Andrew, who wrote the Introduction to British Film Institute's "Krzysztof Kieslowski Revisited":
When Krzysztof Kieslowski died, on 13 March 1996, many cinema-goers felt the movies had lost something special, important. It was not just that many admirers of the Polish writer-director felt they'd somehow lost 'a friend', a film-maker who'd been dealing - sensitively, intelligently, sympathetically - with questions or issues rather more relevant and interesting than the shallow spectacle and tired cliches served up by most of his contemporaries. It was also that the death of Kieslowski - himself regarded by some as a successor to Andrei Tarkovsky as the art-house auteur sans pareil - was seen as a loss not only to European cinema but to world cinema.