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Three Colors: Blue (1993)

Trois couleurs: Bleu (original title)
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A woman struggles to find a way to live her life after the death of her husband and child.


(scenario), (scenario) | 3 more credits »
3,951 ( 1,641)
Nominated for 3 Golden Globes. Another 20 wins & 14 nominations. See more awards »



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Cast overview, first billed only:
Benoît Régent ...
Olivier (as Benoit Regent)
Florence Pernel ...
Lucille (as Charlotte Very)
La journaliste (as Helene Vincent)
Philippe Volter ...
L'agent immobilier
Claude Duneton ...
Le médecin
Patrice (Mari de Julie)
La mère
Florence Vignon ...
La copiste
Daniel Martin ...
Le voisin du dessous
Jacek Ostaszewski ...
Catherine Therouenne ...
La voisine
Yann Trégouët ...
Antoine (as Yann Tregouet)
Alain Ollivier ...


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 Anonymous

Plot Summary | Plot Synopsis

Motion Picture Rating (MPAA)

Rated R for some sexuality | See all certifications »

Parents Guide:




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Release Date:

8 September 1993 (France)  »

Also Known As:

Three Colors: Blue  »


Box Office

Gross USA:

See more on IMDbPro »

Company Credits

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Technical Specs


Sound Mix:



Aspect Ratio:

1.85 : 1
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Did You Know?


When the pictures of Patrice are showed on TV, one of them shows him with the famous Bulgarian pianist Alexis Weissenberg. 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 »


Julie Vignon: I appreciate what you did for me. But you see, I'm like any other woman. I sweat. I cough. I've cavities.
See more »

Crazy Credits

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 »


Referenced in The 100 Greatest Films (2001) See more »

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User Reviews

Do we like her? Do we feel anything?
11 August 2004 | by See all my reviews

Something of a model of directorial focus and control, 'Bleu' seems to be an attempt to answer several related questions: How can a filmmaker express the feelings for someone who won't, or can't, express them herself? Can the director make the viewer understand her, like her, share her feelings? Krzysztof Kieslowski comes very close, finding ingenious, even brilliant ways to get inside the head of his deliberately impenetrable Julie. The frequent 'blackouts,' coupled with the throbbing, somber score (inspired, it seems, at least in part, by Mozart's 'Requiem'), gives us a window into the character's inner life, lets us hear, rather than see, the humanity behind her aloof façade. We understand her--but do we like her? How easy it would be for Julie to become totally unlikable--the way Juliette Binoche plays her, she is blank to the point of coldness, sometimes in ways reminiscent of Catherine Deneuve's Carole in "Repulsion," only with a taut intelligence that character certainly lacks. Somehow, she never does; but, for all the actress's control, the characterization is ultimately Kieslowski's creation, not hers. It's the directorial techniques, and not the acting, that allow us to care about Julie. So, do we ever share her feelings? No, despite all Kieslowski's tricks, we really can't. So often, Americans wrongly write off European films as 'cold,' and that's why it's surprising that this movie, which directly tackles the question of emotional frigidity, and which has such a passionate following among cinephiles, should turn out never to make us feel really anything. Oh, the film has an undeniable emotionalism, a potency, just beneath the surface, yes. But it's never willing to go the extra step and manipulate the viewer in an outright way. It's too respectful of its audience, too intelligent, too careful, for that. And this studied, uncompromising unsentimentality in itself is an achievement Kieslowski should be commended for, but some may find it makes 'Bleu' into a portrait of grief to be admired, rather than loved. 7 out of 10.

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