Directed by Krysztof Kieslowski
Starring Juliette Binoche
Three Colours Blue is the first part of a trilogy of films dealing with France’s motto: Liberty Equality and Fraternity. This film dealing with the idea of Liberty.
The concept is approached on a very personal level for Julie (Binoche) who is the sole survivor of a car accident, which claims both her husband (a famous composer) and five-year-old daughter.
Julie attempts to discard everything about her previous existence and attempts to live a solitary life free from the clutter of her past. It is not only a move towards her own personal liberty but a way of ending her dealing with the world and all its little distractions.
When she rents an apartment, for example, she stresses that she needs a place free from children – and is brought almost to the point of trauma by the discovery of a nest of baby mice within her rooms.
There is an unfinished symphony, which seems to haunt Julie and constantly remind her that – no matter how hard she tries to avoid the fact – her own life is unfinished. And this point is accentuated by the secret that this music holds.
But this world does not want to let her go. She suffers interruptions both by people who need her and the fact that she still cares what happens to others – no matter how much she tries to avoid the fact. Secrets are unlocked as the film progresses, surprise and tenderness, desire and need – the whole Human condition is brought before us in a majestic form.
This film is a journey of healing that is counter-pointed by the evocative score interlacing the fabulous imagery throughout this movie.
Some of the shots are simply beautiful. One particular moment is the capillary action of coffee moving through a sugarcube – simple but very very effective. As would be expected, much of the film is dominated by the colour blue – and again this gives it a marvellous quality – as if the viewer is looking at a canvas rather than celluloid.
Binoche is the glue that holds this whole piece together. Her performance is both moving and mesmeric. I don’t think I’ve seen her in better form.
The verdict is quite simple: I’m really looking forward to watching the next two parts of this trilogy and I’m hoping they will be as good as this.
100 minutes of quality
Starring Juliette Binoche
Three Colours Blue is the first part of a trilogy of films dealing with France’s motto: Liberty Equality and Fraternity. This film dealing with the idea of Liberty.
The concept is approached on a very personal level for Julie (Binoche) who is the sole survivor of a car accident, which claims both her husband (a famous composer) and five-year-old daughter.
Julie attempts to discard everything about her previous existence and attempts to live a solitary life free from the clutter of her past. It is not only a move towards her own personal liberty but a way of ending her dealing with the world and all its little distractions.
When she rents an apartment, for example, she stresses that she needs a place free from children – and is brought almost to the point of trauma by the discovery of a nest of baby mice within her rooms.
There is an unfinished symphony, which seems to haunt Julie and constantly remind her that – no matter how hard she tries to avoid the fact – her own life is unfinished. And this point is accentuated by the secret that this music holds.
But this world does not want to let her go. She suffers interruptions both by people who need her and the fact that she still cares what happens to others – no matter how much she tries to avoid the fact. Secrets are unlocked as the film progresses, surprise and tenderness, desire and need – the whole Human condition is brought before us in a majestic form.
This film is a journey of healing that is counter-pointed by the evocative score interlacing the fabulous imagery throughout this movie.
Some of the shots are simply beautiful. One particular moment is the capillary action of coffee moving through a sugarcube – simple but very very effective. As would be expected, much of the film is dominated by the colour blue – and again this gives it a marvellous quality – as if the viewer is looking at a canvas rather than celluloid.
Binoche is the glue that holds this whole piece together. Her performance is both moving and mesmeric. I don’t think I’ve seen her in better form.
The verdict is quite simple: I’m really looking forward to watching the next two parts of this trilogy and I’m hoping they will be as good as this.
100 minutes of quality
