Kieslowski's Trois Couleurs (Blue, Blanc, Rouge)

Once seen in whole the consistencies in “Three Colours” do well to cohere the three films. The trilogy is a high-art concept that intends to cite the irony of its source. Fashioning filmic equivalents to the French tricolour is a pretentious task Kieslowski has admitted. He has instead shown how liberty, equality and fraternity, each denotative of a collectively-sought virtue, are redefined once regarded on an individual level.

Loosely confined beneath the ceiling of fiction, “Three Colors” — both the collective and individual relevance of its political make up — is a highly rewarding if not beneficial viewing experience.

Blue is a gorgeous film, dramatic and tragic. It is worthy of being measured by its own singular worth. However, only when viewed as the opening of Kieslowski’s “Three Colors” does it garner further meaning …”

“Equality in White is used in the sexual implications of Karol’s marriage; their sex is denotative of their equality. In their divorce trial, Dominique cites his inability to consummate their marriage as ground for her disinterest, and finally their divorce. Karol eventually manages to bed Dominique, and her climax (easily, one of the most powerful orgasms depicted in film) is represented by a brilliant flash of white on screen.”

“Red opens with the image of a hand picking up a phone and dialing numbers. The camera pans and follows the cord into the wall, down the street, into and across the English Channel, and ultimately to another phone in France. Complimenting this sequence are the voices of other simultaneous conversations. This sequence embodies the underlying mechanism in Red, as it exposes the connections people share with each other, however brief and unknown.”