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 »
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 »
Georges and Anne are an octogenarian couple. They are cultivated, retired music teachers. Their daughter, also a musician, lives in Britain with her family. One day, Anne has a stroke, and the couple's bond of love is severely tested.
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
For the shot where Julie scrapes her hand along a stone wall, Juliette Binoche was originally supposed to wear a prosthetic to protect her hand, but it looked too obvious on camera. Binoche felt the scene was important enough that she actually dragged her unprotected hand along the wall, drawing real blood. 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 »
A stunning film from one of the world's preeminent directors.
TROIS COLOURES: BLEU is a rich, dark film with all the Kieslowski marks: death, silence, depression, and the inner torment of outwardly attractive women. After seeing the whole trilogy and the DEKALOG, I'm convinced at Kieslowski's great talent, and his very early death was a true blow to world cinema. Much like Kubrick but with a less ironic nature, Kieslowski loves to make his characters and stories both humanely distant, realistic, and, at the same time, philosophically idealist and dense. I enjoyed BLEU more than BLANC (which was an odd machismic entry in a trilogy mainly focusing on women) but not as much as ROUGE, which I feel is one of the finest, most beautiful, most well-done films I've ever seen.
More specifically, BLEU's focus seems to be on the relationship of a woman's loss of the tactile manifestation of her husband's existance with the ligering notions of his life - especially his music, which pervades the entire film, interrupting at key moments with a blackout and short blast of the overture. To watch Julie struggle with her husband's abandoned secrets (including a mistress Julie befriends) is shattering, frustrating, and perplexing.
Unfortunately, life must move, and, due to that, I can't watch BLEU over and over. However, I did glean from one viewing the complexity of this picture, and recognize its need to be watched over and over, until Kieslowski's last gasps can be properly understood, which is all we can hope to return to a man whose genius was tragically cut short, but still stands as a giant in my view of cinema.
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