| Photos (see all 32 | slideshow) |
| Juliette Binoche | ... | Julie Vignon (de Courcy) | |
| Benoît Régent | ... | Olivier (as Benoit Regent) | |
| Florence Pernel | ... | Sandrine | |
| Charlotte Véry | ... | Lucille (as Charlotte Very) | |
| Hélène Vincent | ... | La journaliste (as Helene Vincent) | |
| Philippe Volter | ... | L'agent immobilier | |
| Claude Duneton | ... | Le médecin | |
| Hugues Quester | ... | Patrice | |
| Emmanuelle Riva | ... | La mère | |
| Florence Vignon | ... | La copiste | |
| Daniel Martin | ... | Le voisin du dessous | |
| Jacek Ostaszewski | ... | Le flutiste | |
| Catherine Therouenne | ... | La voisine | |
| Yann Trégouët | ... | Antoine (as Yann Tregouet) | |
| Alain Ollivier | ... | L'avocat | |
| Isabelle Sadoyan | ... | La servante | |
| Pierre Forget | ... | Le Jardinier | |
| Philippe Manesse | |||
| Arno Chevrier | |||
| Idit Cebula | |||
| Stanislas Nordey | |||
| Jacques Disses | |||
| Michel Lisowski | |||
| Yves Penay | |||
| Philippe Morier-Genoud | |||
| Julie Delpy | ... | Dominique | |
| Zbigniew Zamachowski | ... | Karol Karol (avec la participation de) | |
| Alain Decaux | |||
| rest of cast listed alphabetically: | |||
| Julie Gayet | ... | (uncredited) | |
| Piotr Jaxa | ... | Photographer at funeral (uncredited) | |
Directed by | |||
| Krzysztof Kieslowski | |||
Writing credits | ||
| Krzysztof Kieslowski | (scenario) and | |
| Krzysztof Piesiewicz | (scenario) | |
| Agnieszka Holland | (scenario collaborator) and | |
| Edward Zebrowski | (scenario collaborator) and | |
| Slawomir Idziak | (scenario collaborator) | |
Produced by | |||
| Marin Karmitz | .... | producer | |
Original Music by | |||
| Zbigniew Preisner | |||
Cinematography by | |||
| Slawomir Idziak | |||
Film Editing by | |||
| Jacques Witta | |||
Casting by | |||
| Margot Capelier | |||
Production Design by | |||
| Claude Lenoir | |||
Set Decoration by | |||
| Lionel Acat | |||
| Christian Aubenque | |||
| Jean-Pierre Delettre | |||
| Julien Poitou-Weber | |||
| Marie-Claire Quin | |||
Makeup Department | |||
| Jean-Pierre Caminade | .... | hair stylist | |
| Jean-Pierre Caminade | .... | makeup artist | |
| Valérie Tranier | .... | hair stylist | |
| Valérie Tranier | .... | makeup artist | |
Production Management | |||
| Yvon Crenn | .... | production manager | |
Art Department | |||
| Michel Charvaz | .... | props | |
Camera and Electrical Department | |||
| Ernst Brunner | .... | lighting technician | |
| Muriel Coulin | .... | assistant camera | |
| Alain Dondin | .... | lighting technician | |
| Alain Dreze | .... | grip | |
| Alain Dubouloz | .... | electrician | |
| Piotr Jaxa | .... | second camera operator | |
| Piotr Jaxa | .... | still photographer | |
| Henryk Jedynak | .... | assistant camera | |
| Hans Meier | .... | lighting technician | |
| Albert Vasseur | .... | grip | |
Costume and Wardrobe Department | |||
| Naima Lagrange | .... | costumes | |
| Virginie Viard | .... | costumes | |
Editorial Department | |||
| Aïlo Auguste-Judith | .... | assistant editor (as Ailo Auguste) | |
| Catherine Cormon | .... | assistant editor | |
| Michele D'Attoma | .... | assistant editor | |
| Urszula Lesiak | .... | assistant editor | |
| Rob Sciarratta | .... | video color timer (uncredited) | |
Music Department | |||
| Chór Filharmonii Slaskiej | .... | musician (as Les Choeurs Philharmonique de SILESIE) | |
| Leszek Kaminski | .... | assistant music recordist | |
| Halina Laciak | .... | executive music producer | |
| Konrad Mastylo | .... | musician: piano | |
| Wojciech Michniewski | .... | conductor | |
| Jacek Ostaszewski | .... | musician: flute | |
| Rafal Paczkowski | .... | music recording engineer | |
| Elzbieta Towarnicka | .... | musician: soprano | |
| Sinfonia Varsovia | .... | musician | |
| Jan Wojtacha | .... | chorus master | |
Other crew | |||
| Olivier Bulteau | .... | administrator | |
| Aline Corneille | .... | administrator | |
| Geneviève Dufour | .... | script supervisor (as Genevieve Dufour) | |
| Roman Gren | .... | acting coach | |
| Anne Guillemard | .... | administrator | |
| Caroline Lassa | .... | administrator | |
| Marcin Latallo | .... | dialog translator | |
| Stan Latek | .... | assistant to director | |
| Dominique Lefèvre | .... | administrator | |
| Laurette Monconduit | .... | public relations assistant | |
| Eva Simonet | .... | public relations | |
| Jean Talvat | .... | administrator | |
| Nicolas Tempier | .... | administrator | |
| Gisèle Vuillaume | .... | administrator | |
Thanks | |||
| Andrew Litton | .... | special thanks | |
| Alexis Weissenberg | .... | special thanks | |
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| Trzy kolory: Bialy | Trois couleurs: Rouge | 21 Grams | The Heart of Me | L'accompagnatrice |
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"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