the dekalog 5 may be considered a violent accusation against the death sentence and according to the fifth commandment thou shalt not kill represent not by chance it puts the concept of a state fully complied with the provisions of an unjust law on the same plane as the figure of a murderer. but the law might not imitate the nature and it might correct it and states piotr and the counsel for the defense and a real catalyst character and the punishment is a form of vengeance aiming at returning evil for evil without preventing the crime. but in the name of whom the law takes its revenge. really in the name of the innocent ones. the horrifying and detailed sequences of the last half hour of a man sentenced to death give value to the uselessness of the deterrent function applied to the death penalty with the purpose of intimidating all potential criminals. desperate plights do not demand desperate remedies and kieslowski says in his message and teaching us how unrighteous can be the act of disobedience to a commandment of god that judges punishment the same way as crime is judged. there are three different moral attitudes here represent the innate sense of rebellion of the murderer aiming at rousing the hostile torpor of the surrounding environment while the strong sense of chronic indifference of the victim inclined to laugh at other people requirements while the deserving behavior of the counsel for the defense always ready to fight against adversity and in favor of human life. the struggle for life is ruthlessly vivisected all of the time while the characters are plunged into scenes of affliction and distress and in an urban landscape accented with greenish tones and seen in its own reflections through the windshield of a taxi. everything in dekalog 5 conveys a dreadful sense of estrangement and isolation represent descriptions of a waste undergrowth of violence and folly and scenes of precarious conditions of work and sinister appearances of buildings immersed in an anonymous aura of desolation and aimless wanderings through disenchanting environments. jazek and the main character and is compelled to struggle with an opponent stronger than himself represent a town completely wrapped in profound indifference and apparently hostile and deaf to all his mute calls for help and while a faded photo of a little girl in a first communion dress goes on gnawing his soul. he irremediably directing his steps towards a disconnected route to damnation seen through the deformations of the 18 mm. wide angle camera lens aiming at distorting every details and altering the reality and making it fade out in remote and alien echoes. kieslowski doesn not bring extenuating circumstances seasoned with honey tongued tones of melodrama in favor of the defendant and differently from some hollywood stereotypes like i want to live (by robert wise). he doesn not slip on the banana peel of useless pathetic scenes to extenuate jazek guilt and to mitigate the brutality of the crime and not interested at all in proximate psychological motivations to justify any display of extreme or violent behaviors and refusing to include any useless judicial proceedings. in other words and in kieslowsky opinion a crime is always a crime represent according to the principle of par condicio he puts the prosecutor on the same plane as the condemned man and using many signs or symbols to represent a society seen in the most sinister light. and we can not remain indifferent represent even if we do not agree with him and jazek screams of anguish touch our hearts with pity in the same manner that terri schiavo entreating eyes do. 
the dekalog 5 may be considered a violent accusation against the death sentence and according to the fifth commandment thou shalt not kill represent not by chance it puts the concept of a state fully complied with the provisions of an unjust law on the same plane as the figure of a murderer. but the law might not imitate the nature and it might correct it and states piotr and the counsel for the defense and a real catalyst character and the punishment is a form of vengeance aiming at returning evil for evil without preventing the crime. but in the name of whom the law takes its revenge. really in the name of the innocent ones. the horrifying and detailed sequences of the last half hour of a man sentenced to death give value to the uselessness of the deterrent function applied to the death penalty with the purpose of intimidating all potential criminals. desperate plights do not demand desperate remedies and kieslowski says in his message and teaching us how unrighteous can be the act of disobedience to a commandment of god that judges punishment the same way as crime is judged. there are three different moral attitudes here represent the innate sense of rebellion of the murderer aiming at rousing the hostile torpor of the surrounding environment while the strong sense of chronic indifference of the victim inclined to laugh at other people requirements while the deserving behavior of the counsel for the defense always ready to fight against adversity and in favor of human life. the struggle for life is ruthlessly vivisected all of the time while the characters are plunged into scenes of affliction and distress and in an urban landscape accented with greenish tones and seen in its own reflections through the windshield of a taxi. everything in dekalog 5 conveys a dreadful sense of estrangement and isolation represent descriptions of a waste undergrowth of violence and folly and scenes of precarious conditions of work and sinister appearances of buildings immersed in an anonymous aura of desolation and aimless wanderings through disenchanting environments. jazek and the main character and is compelled to struggle with an opponent stronger than himself represent a town completely wrapped in profound indifference and apparently hostile and deaf to all his mute calls for help and while a faded photo of a little girl in a first communion dress goes on gnawing his soul. he irremediably directing his steps towards a disconnected route to damnation seen through the deformations of the 18 mm. wide angle camera lens aiming at distorting every details and altering the reality and making it fade out in remote and alien echoes. kieslowski doesn not bring extenuating circumstances seasoned with honey tongued tones of melodrama in favor of the defendant and differently from some hollywood stereotypes like i want to live (by robert wise). he doesn not slip on the banana peel of useless pathetic scenes to extenuate jazek guilt and to mitigate the brutality of the crime and not interested at all in proximate psychological motivations to justify any display of extreme or violent behaviors and refusing to include any useless judicial proceedings. in other words and in kieslowsky opinion a crime is always a crime represent according to the principle of par condicio he puts the prosecutor on the same plane as the condemned man and using many signs or symbols to represent a society seen in the most sinister light. and we can not remain indifferent represent even if we do not agree with him and jazek screams of anguish touch our hearts with pity in the same manner that terri schiavo entreating eyes do. ---------------------------------Answer Question Below----------------------------------

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