Dan Conley

Anka is drinking coffee at the kitchen table. She has taken her mother’s letter out of her father’s envelope again and has it propped up on the table so she can see her mother’s writing. She has beautiful pale green eyes. You can see a sly smile

“Blue” is a film that starts off painful and difficult. It slowly becomes easier to watch throughout its runtime, reaching a conclusion that is powerful and joyous. We can bear to watch the early scenes only out of pity for Julie and what she must be experiencing. But Julie is

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