![]() In a capitalist society, like the post-Communist Poland to which Karol returns, being more “equal” is an obsession. Kieslowski once remarked that the problem with equality is that everyone wants to be more equal. Karol’s accumulating wealth is an elaborate plan to exact revenge upon Dominique. He resumes his job as a hairdresser in his brother’s salon, but, moonlighting as a security guard, he is able to purchase property and then sell it to its original prospective buyers. Small, unassertive, and physically weak, he’s a put-upon fellow whose matrimonial and vocational woes force him to return to his Polish homeland, smuggled by a newfound friend in, of all things, a suitcase. At the film’s beginning, Karol Karol (Zbigniew Zamachowski) is publicly humiliated by his wife Dominique (Julie Delpy), who files for divorce on the grounds of his sexual impotence. White, a black comedy about a man’s obsession, revenge, and redemption, is less understated than Blue, but it is no less ironic. The story of Blue is told almost entirely in her face and gestures, and with expressions so appropriately economical that you think she might melt into the background: her quivering chin, a brief flash of pain across her brow, her fist scraping against a wall. Typically an efficient actress, she turns this almost wordless role into a minimalist portrait of sorrow. All of these elements lend beauty to her suffering.īinoche’s performance surely enhances this beauty. Filled with reflections in mirrors and windows and first-person perspectives through Julie’s eyes, it also contains one of Kieslowski’s most arresting techniques: a quick dissolve, typically a demarcation of time, to mark Julie’s recollections or thoughts. Only by opening herself to memories and obligations can she achieve redemption.Īs a portrait of grief, Blue eviscerates, but in its cinematic virtuosity, it mesmerizes as well. ![]() Julie does everything in her power to keep these demands and discoveries at bay, failing to realize that she will find her liberty by confronting her past. Ineluctably, those traps impinge on Julie’s life: a neighbor asks her for help her husband’s collaborator, Olivier (Benoit Régent), loves her and she comes upon unnerving secrets from her husband’s past. “I want no belongings, no memories, no friends, no love,” she says. She sells her possessions and her home, destroys her composer husband’s scores, and strives for anonymity. Her initial response, self-immolation, turns into an aspiration for absolute freedom in the form of isolation. Julie is badly injured, but survives, only to live through the hell of profound personal loss. At the start of the film, a car accident claims the lives of her husband and daughter. This deeply metaphorical language produces a series of unforgettable impressions, none more elegant and powerful than the moment in Blue, when Julie (Juliette Binoche) takes a nighttime swim in a deserted pool, its waters suffused with blue light.īlue is the color of liberty (white stands for equality, red for fraternity), but it is also the color of sorrow, and here Julie is swimming in grief. Like Michelangelo Antonioni (but without the fetish for architecture), Kieslowski portrays these lives through images, without explanatory dialogue. Rather than working towards overarching resolution, each film achieves a small catharsis. The films trace the interior lives of characters burdened by circumstance, alienation, death, and loss. Kieslowski and his longtime screenwriting collaborator Krzysztof Piesiewicz take the two-centuries old slogans of the French Revolution - liberté, égalité, fraternité - and examine them not as political concepts, as might be expected, but as personal touchstones. The three films comprise a lyrical, expressive, often beguiling meditation on human frailties and the need for connection. ![]() Taken together, Blue, White, and Red are a visionary swan song for one of European cinema’s most poetic moralists. ![]() He died less than two years later, but his late career included the awe-inspiring Decalogue in 1988, and the mystical Double Life of Veronique in 1991, followed by the ambitious Three Colors. Here is a table of the most common colors and their feminine.Few filmmakers have ended their careers on as high a note as Krzysztof Kieslowski did when he retired in 1994. Example : Un verre blanc/ Une tasse blanche. For example: Orange, marron, cerise, noisette. Some colors who refer to the color of something, are invariable. ⚠ Colors who already end with e stay unchanged. To form the feminine of color adjectives, the general rule is adding an extra "e". ![]() You can see that the noun robe and pantalon determine which agreement to make. You should find wether the word it describes is female, male, singular or plural. This means that you need to pay attention to their gender and number. In that case, it's important to make agreements. Example : Le bleu est ma couleur préférée. ![]()
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