Two parallel stories about two identical women; one living in Poland, the other in France. They don't know each other, but their lives are nevertheless profoundly connected.
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.
A young man and woman meet on a train in Europe, and wind up spending one evening together in Vienna. Unfortunately, both know that this will probably be their only night together.
Karol (Polish) marries Dominique (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
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 »
Among user comments for this film, one claims the film is really about marriage, another assigns "stubborn spitefulness" to Delpy (she just wants her man to be able to get it on), or how it's about French society. Others seem to have taken Kieslowski at face value when he said that each film in the trilogy is inspired by the French republican motto and try to explain how this is the "egalite" film. Kieslowski may have coaxed funds from the French by giving them something they could buy into in a cultural way (he's pretty much said so) but we have no reason to rest there.
What makes this interesting is that the story such as you see it never really happened. Kieslowski makes a point to show us a man being flown to Poland in a suitcase, a hairdresser who is turned into a business mogul just like that, or why Delpy is locked up in prison with no evidence.
Blue was about memory, something that happened in the past and now resurfaces to color reality. This one is about imagined anticipation: desire. We have a marriage breaking apart, the courtroom bit is your anchor and probably the only safely real one. She used to love him until he couldn't get hard any more, but even this might be his own failure to save his marriage (a blow to male ego) taking shape as male impotence to consummate.
The rest of the film is wish-fulfillment fantasy where he pities himself as broke and homeless, endures all kinds of hardship until he picks himself up and becomes rich and powerful (that's virility for his male ego). He then watches her cry over his grave and stages his comeuppance after a night of giving her the best sex of her life of course.
This has all been the narrator's vindictive fantasy of a slighted ego. But love melts away this fantasy. He never leaves for Hong Kong as planned. He chooses to visit her in prison instead. Watching her through theater glasses from below, she motions to him about getting married again. It's all about a narrator living through the illusory reality that desire creates.
Compared to the other two in the trilogy, it comes out on the slight side, looking a bit like an episode from the Dekalog.
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Among user comments for this film, one claims the film is really about marriage, another assigns "stubborn spitefulness" to Delpy (she just wants her man to be able to get it on), or how it's about French society. Others seem to have taken Kieslowski at face value when he said that each film in the trilogy is inspired by the French republican motto and try to explain how this is the "egalite" film. Kieslowski may have coaxed funds from the French by giving them something they could buy into in a cultural way (he's pretty much said so) but we have no reason to rest there.
What makes this interesting is that the story such as you see it never really happened. Kieslowski makes a point to show us a man being flown to Poland in a suitcase, a hairdresser who is turned into a business mogul just like that, or why Delpy is locked up in prison with no evidence.
Blue was about memory, something that happened in the past and now resurfaces to color reality. This one is about imagined anticipation: desire. We have a marriage breaking apart, the courtroom bit is your anchor and probably the only safely real one. She used to love him until he couldn't get hard any more, but even this might be his own failure to save his marriage (a blow to male ego) taking shape as male impotence to consummate.
The rest of the film is wish-fulfillment fantasy where he pities himself as broke and homeless, endures all kinds of hardship until he picks himself up and becomes rich and powerful (that's virility for his male ego). He then watches her cry over his grave and stages his comeuppance after a night of giving her the best sex of her life of course.
This has all been the narrator's vindictive fantasy of a slighted ego. But love melts away this fantasy. He never leaves for Hong Kong as planned. He chooses to visit her in prison instead. Watching her through theater glasses from below, she motions to him about getting married again. It's all about a narrator living through the illusory reality that desire creates.
Compared to the other two in the trilogy, it comes out on the slight side, looking a bit like an episode from the Dekalog.