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 »
Filip buys an eight-millimetre movie camera when his first child is born. Because it's the first camera in town, he's named official photographer by the local Party boss. His horizons widen... 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
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 Julie spits the pills out of her mouth, she has white powder on her lips. In the next shot of her after the nurse see's her, her lips are clean, then the powder is visible again in the next shot. See more »
I appreciate what you did for me. But you see, I'm like any other woman. I sweat. I cough. I've cavities.
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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 »
Often times when viewing an intelligent film like this I have to really contemplate what the implications the film maker making mean to me. This film was no exception. Kieslowski, with his background in non-fiction film making, is applying the french political value of liberty to a personal situation. He is, in essence, studying the human condition through fiction. The meaning of "liberty" takes on a very different meaning for Julie in this film. She tries to gain liberty from her memories and her emotions only to find that it is an impossible task. This is not a film to casually throw on after supper. This film requires a commitment by the audience to really consider Kieslowski's implications, for he is telling us (throughout this trilogy) what he thinks makes a "good" person. The score is beautiful and has a character of its own in the plot. A must see for true film lovers but perhaps a little too much for someone expecting a casual encounter.
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