Dan Conley

Kieslowski hates happy endings, but “Blue” has earned one. I have resisted writing about the closing scenes of this movie for nearly a year, in part because I’m not entirely sure what’s going on with it. We hear the revised symphony on the soundtrack. It’s beautiful and

I have noted before similarities between “Three Colors: Blue” and “Drive My Car.” Both movies include a highly mysterious character. But in the case of “Drive My Car,” it’s a character who dies early in the film. In “Blue,” it’s the protagonist herself who is a mystery. It’

--- Kieslowski stretches out the mystery a little longer. Julie goes to visit her mother and stands at the window of her home, observing her watching a man walk a tightrope. She stares for a few seconds and decides to walk off. The symphony begins playing in her head as

I began this project by noting similarities between Montaigne and Julie, the protagonist of “Three Colors: Blue.” Both had experienced painful loss in their lives, and in reaction, they withdrew to a place of greater emotional control and comfort. But what I find interesting about the narrative arcs of them

This is the strangest scene in “Three Colors: Blue,” one necessary to move along elements of the plot, but one that also feels out of place with the style and tone of the rest of the film. Julie is asleep at home when she’s awoken by a call. Lucille

One of the tropes of gangster films is the moment where the crime boss starts to see everything he’s built start to slip away. You could argue that every episode of “The Sopranos” is about examining that state. The fake world of power and safety begins to crumble. The