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 »
Each member of a family in Taipei asks hard questions about life's meaning as they live through everyday quandaries. NJ is morose: his brother owes him money, his mother is in a coma, his ... See full summary »
Otto and Ana are kids when they meet each other. Their names are palindromes. They meet by chance, people are related by chance. A story of circular lives, with circular names, and a ... See full summary »
Max is on his way to Tokyo. He lives in Paris and likes to flirt but has decided to get married. By chance, he seems to have seen Lisa, his greatest love, in a cafe. Max forgets everything,... See full summary »
A retired legal counselor writes a novel hoping to find closure for one of his past unresolved homicide cases and for his unreciprocated love with his superior - both of which still haunt him decades later.
Juan José Campanella
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
When Olivier has tracked down Julie but is then ignored by her, there is a close-up of Julie allowing a sugar cube to soak up her coffee. Deeming that the sugar cube had to soak up the coffee in precisely 5 seconds, Krzysztof Kieslowski had his assistant director test multiple brands (which soaked with coffee anywhere from 3 to 11 seconds) to find one that took just the correct time. See more »
When Oliver tells Julie he will not incorporate her changes into the musical score, a boom mic is visible briefly as Julie puts down the phone. 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 »
'Blue,' 'White' and 'Red' represent the apotheosis of European art cinema just at the moment when its very existence seemed most uncertain
"Three Colors Blue" is the first part of Polish director Krzysztof Kieslowski's Three Colors trilogy "Blue" is set in France, "White" in Poland and "Red" in Switzerland, but all production was based in France Not only are the colors of the trilogy those of the French national flag; the original intention was meditation on the ideals of the French Revolution: freedom, equality and fraternity This suggests a political dimension to the work But though like most Polish filmmakers Kieslowski had his difficulties with the Polish Communist system, its collapse by the early 1990s meant that he was not only free to work where he pleased, but liberated from the necessity for his films to engage directly in the political process
In "Three Colors Blue" Juliette Binoche plays a woman whose husband and daughter are killed in a car crash Overcome by melancholy, she progressively withdraws from life, depriving herself of possessions and refusing relationships, a state of mind conveyed in part by the director's subtle use of color blue But eventually she is able to accept the attentions of a lover and even to offer friendship to another woman who is pregnant with her husband's child Finally, she completes the piece of music which her husband has been commissioned to write
The result is a work that has less in common with the Polish 'Cinema of moral concern' of the late 1970s than with the tradition of the mainstream European art cinema, in its concerns with alienation and the loss of feeling, countered by the transcendent power of love
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