One of my other all-time favorite films is “Hiroshima mon amour,” the 1959 Alain Renais movie about a short-lived but intense love affair between a French actress, played by Emmanuel Riva, and a Japanese man, played by Eiji Okada. The story takes place in Hiroshima and is infused with memories
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The plot point about mice in Julie’s apartment feels like a short film within the film. It’s a microcosm of her beliefs and actions, one that faces off her innate fears with her maternal instincts. Julie returns home from the market, where she apparently bought nothing but a
This segment starts with a lie. Anka is examining the shards of glass in the door that Michal shattered and he says, while changing his shirt, “it was a draft.” She gives a bemused “hmm,” sits down and asks if he has a cigarette. He lights one for her and
We now reach the turning point of “Blue,” a collection of four scenes where Julie’s journey toward individualism and freedom meets various forms of resistance. It begins with her swimming alone in a stunning blue pool. Julie is again in that womb-like state, free in her exercise and meditation.
This is my second attempt to write this essay. I completed a version of it and I thought I’d published it. But when I went to retrieve the URL so I could cross post it to Authory, it wasn’t in my list of posts. I found it in
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,