Dan Conley

I have not dwelled on Kieslowski’s anchor themes very much throughout my series, in part because I find it more interesting the ways that he blurs the concepts or tries to subvert them. In the Dekalog, for example, there are often numerous commandments in play at a time and

Red dominated the first segment of the film, but now it takes on a more subtle character. There are red elements in nearly every shot now, but they are not central, they stand off to the side, hinting at possible meaning. So too there are many portents in this part

Three Colours: Red begins in the UK, with an unseen young man — a man we will never meet, making a telephone call. We can see a picture of Irene Jacob on his nightstand, a black and white photo where she looks quite young, perhaps a teenager. This gives a sense

It might be ambitious of me to jump directly from Three Colours: White to Red without time off in between, but my movie watching habits have been a bit extreme lately, so I might as well ride the tide. Over the weekend, I saw some horror shorts at the Chicago

As we reach the conclusion of “Three Colours: White,” Kieslowski is still unsure about the tone of this film. Is it supposed to be a Charlie Chaplin-inspired broad comedy? A social satire? A twisted romantic fable? He seems to answer all of the above, which has always kept me at

Dominique opens the door to her hotel room, the same shot Kieslowski has previewed in flash forwards already. We see now what Karol’s plan was all along. He’s in her hotel room bed waiting for her. He says “I wanted you to come. I wanted to be sure.