Three Colors: White (1994)
"Trois couleurs: Blanc" (original title)

R  |   |  Comedy, Drama, Mystery  |  10 June 1994 (USA)
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Ratings: 7.7/10 from 41,226 users  
Reviews: 82 user | 75 critic

Second of a trilogy of films dealing with contemporary French society shows a Polish immigrant who wants to get even with his former wife.


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Cast overview, first billed only:
Aleksander Bardini ...
Le notaire (The Lawyer)
Grzegorz Warchol ...
L'elégant (The Elegant Man)
Cezary Harasimowicz ...
L'inspecteur (The Inspector)
Jerzy Nowak ...
La vieux payson (The Old Farmer)
Jerzy Trela ...
Monsieur Bronek
Cezary Pazura ...
Le propriétaire du bureau de change (Bureau de Change Proprietor)
Michel Lisowski ...
L'interprète (The Interpreter)
Philippe Morier-Genoud ...
Le juge (The Judge) (as Philippe Morier Genoud)
Piotr Machalica ...
L'homme de haute taille (The Tall Man)
L'employé de banque (The Bank Employee)
Barbara Dziekan ...
La caissière (The Cashier)


Karol (Polish) marries Domininque (French) and moves to Paris. The marriage breaks down and Dominique divorces Karol, forcing him into the life of a metro beggar and eventually back to Poland. However, he never forgets Dominique and while building a new life for himself in Warsaw he begins to plot... Written by Anonymous

Plot Summary | Plot Synopsis

Motion Picture Rating (MPAA)

Rated R for some sexuality and language | See all certifications »

Parents Guide:




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Release Date:

10 June 1994 (USA)  »

Also Known As:

Three Colors: White  »

Filming Locations:


Box Office


$1,464,625 (USA)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:



Aspect Ratio:

1.85 : 1
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Did You Know?


Juliette Binoche, Florence Pernel:  stars of Three Colors: Blue (1993), make appearances in this film. See more »


When our couple manage to make love, Dominique's moanings are not simultaneous with her lips. See more »


Mikolaj: What counts on bridge is memory.
Mikolaj: And mine is excellent.
See more »


Referenced in Severance (2006) See more »


To ostatnia niedziela
(This Last Sunday) (uncredited)
Music by Jerzy Petersburski and words by Zenon Frejdwald
Played on the comb by Karol in the subway
See more »

Frequently Asked Questions

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User Reviews

Conjugal wickedness that cries out for vengeance
29 April 2005 | by (Italy) – See all my reviews

WHITE IS THE COLOR OF DOMINIQUE'S WEDDING DRESS at the exit of the church, surrounded by the blazing whiteness of an overexposed background, full of subtle symbolisms imbued with hypnotic nuances. WHITE is the glimmer of the impending reflexes in the background of a lazy town buried under the snow. WHITE is the bust of a statue caressed as a memento of a love irremediably lost. WHITE is Dominique's final orgasm, a real scream of liberation from the yoke of her spiteful stubbornness, the false revenge of a woman unaware of her impending calamity, completely unacquainted with the bitter game of make-believe inspired by a wickedness that cries out for vengeance. According to Karol, the main character, it's better to have loved and lost than never to have loved at all. His desire for revenge blows out his residual flickering flame of love after having suffered unforgivable affronts devised by his heartless wife.

"Trzy kolory: Bialy" (Three colors: White), second episode inspired to the three colors of the French flag and to the three principles of the French Revolution (Freedom, Equality and Fraternity), brings back to us two old acquaintances, Zbigniew Zamachowski (very similar to the pathetic Italian character Fantozzi,) and Jerzy Stuhr. It may be considered the most unforeseeable movie of the whole colors trilogy, full of sharp and witty tones of grotesque melodrama, with a reluctant and peevish Julie Delphy never seen so cold-mannered on the screen before. The inborn sense of Kieslovski's BLACK humor comes out here in all its might almost counterbalancing the concept of absolute WHITE connected with he story.

"Three colors: white" is very different from the other two episodes of the trilogy, but nonetheless the unmistakable touch of the genius can be generously found in the accurate care of the details, in the emotional intensity of the dialogs, in the careful analysis of the individual values, in his safe distance from the events represented by him, in his constant application of the principle of casualness and in his large use of metaphors (look for instance at the sequences of simultaneous flights of pigeons, symbolizing an open concept of freedom often cherished in his works). And Julie Delphy's following words sound as a sort of sincere homage to Kieslovski's art: "Kieslowski is a director who draws his inspiration from the true life of people, who instills his own soul into his movie, who dwells upon the details as if he wanted to examine the life under a microscope." Absolutely true. There is nothing else left to say: "Three colors: red" looms on the horizon.

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