Weronika lives in Poland. Véronique lives in Paris. They don't know each other. Weronika gets a place in a music school, works hard, but collapses and dies on her first performance. At this... See full summary »
19-year-old Tomek whiles away his lonely life by spying on his opposite neighbour Magda through binoculars. She's an artist in her mid-thirties, and appears to have everything - not least a... See full summary »
The plot couldn't be simpler or its attack on capital punishment (and the act of killing in general) more direct - a senseless, violent, almost botched murder is followed by a cold, ... See full summary »
It's 1982: Poland is under martial law, and Solidarity is banned. Ulla, a translator working on Orwell, suddenly loses her husband, Antek, an attorney. She is possessed by her grief, and ... See full summary »
The first part of Kieslowski's trilogy on France's national motto: Liberty, Equality, and Fraternity. 'Blue' is the story of Julie who loses her husband, an acclaimed composer and her young daughter in a car accident. The film's theme of liberty is manifested in Julie's attempt to start life anew, free of personal commitments, belongings, grief or love. She intends to numb herself by withdrawing from the world and living completely independently, anonymously and in solitude in the Parisian metropolis. Despite her intentions, people from her former and present life intrude with their own needs. However, the reality created by the people who need and care about her, a surprising discovery and the music around which the film revolves heal Julie and draws her back to the land of the living. Written by
At one point, we see Julie carrying a box which, as a close-up shows, has prominently written across it the word "blanco", Spanish for white; in the next shot we are looking at her from behind, and she pauses in the street as a man in blue passes her on her left and a woman in red passes her on her right. This is a subtle reference to the structure of the Three Colours trilogy - blue, white, red, in that order, mirroring the French flag. In another scene, children in red and white bathing suits run out and jump in the blue swimming pool. See more »
Julie mentions 'altos' as she describes the entrances of various instruments. The same word appears in the English subtitles as she speaks. The sound we hear, though, is not a group of female singers but a body of stringed instruments. In French the word 'alto' refers to a viola; the subtitle is a mistranslation. See more »
Now I have only one thing left to do: nothing. I don't want any belongings, any memories. No friends, no love. Those are all traps.
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The final credit says in French, "We thank Alfa Romeo who allowed the scene of the accident to the Alfa 164 whose dynamics are of course purely imaginary." See more »
The movie's narrative basically ends after the first ten minutes. There is practically no external conflict after that, except for the rather uninteresting point of will Juliete Binoche finish the score for the "Unification of Europe" song. To tell the truth, I really, really did not care one way or the other.
Without plot narrative, we're left with some quite striking cinematography, mainly shots of Juliete which should definitely be in a slick fashion magazine. There's some nice montage of images and sounds a la Godard or Bertolucci, but nothing very memorable except for a sugar cube dissolving and some baby mice. This leaves me in the distinct minority of those who found the film cold and boring. I realize that the director Krzysztof Kieslowski was dying of aids when he made this film, but I can't transfer my sympathy for him to the film. I haven't seen the other two films in the trilogy. I hope they are better.
I'm also upset with the false advertising on the DVD which calls the film "Mysterious and Sexy." There is no mystery here and one shot of Juliete Binoche's naked back and several shots of her swimming in a bathing suit hardly qualifies a film as sexy. Of course, if they had written the truth "Morbid and Pretty" who would buy it?
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