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 »
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 »
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 »
1970. After discussions and dishonest negotiations, a decision is taken as to where a large new chemical factory is to be built and Bednarz, an honest Party man, is put in charge of the ... See full summary »
Valentine is a young model living in Geneva. Because of a dog she ran over, she meets a retired judge who spies his neighbours' phone calls, not for money but to feed his cynicism. The film is the story of relationships between some human beings, Valentine and the judge, but also other people who may not be aware of the relationship they have with Valentine or/and the old judge. Redemption, forgiveness and compassion...Written by
SERIES TRADEMARK: In all three parts of the trilogy, an elderly person can be seen trying to throw an empty bottle into a recycling bin. In this final entry, Valentine (Irène Jacob) helps her, while in the other two parts the main character just watches. See more »
When Auguste drops his books on the street and starts picking them up, some of the books he had already picked up reappear on the ground in the next shot. See more »
The final part of Kieslowski's trilogy based on the colors of the French flag finds the director at peace with the metaphysical and transcendent nature of the cinematic image. In Red, imagery is paramount, as well as the obvious but clever color coding. However, rather than adhering to empty aesthetic contrivances based on the 'cinema du look', Kieslowski's Red is a multi-layered, densely plotted meditation on the nature of fate and love. In Red, love and fate are intertwined but complex notions, dictated as much by the whims of human beings as the invisible parallel associations that seems to pass us by. You sense Red is really an allegory, a reenactment of Prospero's omnipresent gestures in The Tempest, yet it is more than its story appears. Red demands countless viewings, and in each viewing something new is discovered that weaves itself into the already immaculately plotted structure.
Although Red stands alone as a masterwork from Kieslowski, it's best viewed as part of the trilogy. Elements of Blue and White are referenced in Red, which knowing viewers will enjoy.
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