Film sound theorist Michel Chion writes: “[Krzysztof] Kieślowski endows noises and music—a solo flute or a slender soprano voice—with an energy that cuts through the general pall of the world.” 1 Indeed, one of Kieślowski’s more remarkable achievements is the way he utilized diegetic sounds—that is, the noises and music of the fictional world being presented—to revitalize and expand our sense of our own world, which he saw to be to be far more than just a Euclidean affair.