Dan Conley

Il n'y a qu'un problème philosophique vraiment sérieux : c'est le suicide. Albert Camus Returning from the fade the black, the film gives us a long shot of a feather, golden, undulating in the air current. We see a fuzzy image of a man approaching.

”Blue” opens in tragedy. In his review of the film, Roger Ebert called “Blue” an anti-tragedy in the way it subverts our expectations. While tragic flaws lead to the destruction of protagonists in the classical model, Julie has a different destiny. She cannot escape her innate kindness no matter how

I cannot think of a more Montaigne-like film than the 2013 Krzysztof Kieślowski movie “Three Colors: Blue.” I have no idea if the Polish director had read Montaigne or even if he did, if he considered the similarities between this first film in his European unification trilogy and the essayist.

Kieslowski did not know how to end “The Double Life of Veronique.” At one point in the editing process, he considered opening the film in 18 Paris theaters and having a different ending in each. And, in fact, the film has two different official endings. There is the version of

After the fade to black, we awaken in a Veronique dream. But it’s not her recollections, it’s a memory of Weronika — the upside down inside-the-superball view of a church, the same church her father was painting … the same painting she earlier described to her father. Kieslowski needs to

I begin the next segment’s examination with a quote from Marcel Proust: At the Champs-Élysées I had had an inkling, which since those days had become clearer to me, that when we are in love with a woman, all we are doing is projecting on to her a state