Kieslowski

--- 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

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

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