The performances are uniformly excellent. Yet somehow this seems strangely hollow.

There's no room in Blind Chance's deterministic universe for character or personal choice, which may be why the film feels less fleshed-out, more schematic than some of Kieslowski's others.

Linda's possible futures split into three while he's running to catch a train, but Kieslowski keeps his audience aware of the infinite branching points in every life, while insisting that people don't fundamentally change.

"Every idea has its period of error," explains an ex-Stalinist party member to Witek, something that can be applied to the overall emotional effectuality of Blind Chance.