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A symbol common to the three films is that of an underlying link or thing that keeps the protagonist linked to their past. In the case of Blue, it is the lamp of blue beads, and a symbol seen throughout the film in the TV of people falling (doing either sky diving or bungee jumping); the director is careful to show falls with no cords at the beginning of the film, but as the story develops the ...
Three Colours: White was met with critical acclaim; it holds an 89% rating on Rotten Tomatoes, with an average rating of 7.6/10, based on 55 reviews. The consensus reads: "Taking a lighter tone than the other films of the Three Colors trilogy, White is a witty, bittersweet comedy with heavier themes on its mind than one might at first realize". [8]
Three Colours: Blue (French: Trois couleurs: Bleu, Polish: Trzy kolory: Niebieski) is a 1993 psychological drama film co-written and directed by Polish filmmaker Krzysztof Kieślowski. It is the first instalment in the Three Colours trilogy , themed on the French Revolutionary ideals of liberty, equality and fraternity, followed by White and ...
Back in theaters almost 30 years since it first debuted, Krzysztof Kieślowski's "Three Colors" trilogy finds a mystical hope in desolate times.
Criterion citation: "The influential cinematographer talks about films that informed his visual style, praises the complexity and simplicity of Yi Yi, and analyzes the opening sequence of Krzysztof Kieślowski's Three Colors: Blue." [30]
Three Colours: Red (French: Trois couleurs: Rouge, Polish: Trzy kolory: Czerwony) is a 1994 drama film co-written, produced and directed by Polish filmmaker Krzysztof Kieślowski. It is the final installment of the Three Colours trilogy , which examines the French Revolutionary ideals ; it is preceded by Blue and then by White .
The signposts of TV fitness guru Elisabeth Sparkle’s (Demi Moore) disturbingly surreal world appear early via super-wide-angle shots of her producer Harvey (Dennis Quaid), which emphasize him ...
The large cast includes both famous and unknown actors, many of whom Kieślowski also used in his other films. Typically for Kieślowski, the tone of most of the films is melancholic, except for the final one, which is a black comedy, featuring two of the same actors, Jerzy Stuhr and Zbigniew Zamachowski, as in Three Colors: White. [citation ...