Dan Conley

The last scene ends with Julie in a state of deep meditation. She’s faintly hearing the symphony in her head, a string section, but isn’t fighting it. She’s letting it guide her calmly into slumber. It’s impossible for me to convey the beauty of the scene,

“Three Colors: Blue” is a personal story, but it’s also possible to extrapolate it to a global, humanitarian story. Kieslowski conceived his trilogy as an homage to his new home country of France, but told through the prism of a reunited Europe. The freedom highlighted in the movie isn’

It’s always valuable to bear in mind what Kieslowski had to say about all of the main characters in The Dekalog — they don’t know why they are living. They don’t begin episodes in despair. In most cases, there’s no imminent crisis in their lives. But they

Not much happens in the first scene of Julie’s freedom, which makes it a perfect opportunity to detail why I love this character so much. It’s not just that Julie embraces an ethos of radical freedom, it’s the way she goes about expressing that freedom that I

This a beautifully shot, dramatic scene, framed by a thunderstorm. Olivier enters Julie’s house soaking wet. The room looks somewhat like a Van Gogh painting. She tells him to take it off, which Olivier interprets as his rain coat, she responds “all of it.” Olivier then proceeds to remove

As mentioned in the first essay, Kieslowski uses a motif of circles to indicate destiny in this film. It’s a metaphor he returned to frequently in his films, as Thomas Hibbs noted in this 2005 essay about him: Kieslowski specializes in the depiction of characters suffering a sort of