Kieslowski

For much of “Three Colours: White,” we have no idea where this story is going. It’s not really a weakness, it heightens the sense of mystery — what is Karol’s ultimate goal? Here, we see Karol, with Mikolaj at his side, begin to roll out an empire. They buy

Karol gets a brief challenge from his boss and the other man in the Mercedes who was talking about the land deal. They bang on his door early in the morning, Karol wearing a wife beater white t-shirt and boxer shorts. They are at the door and the balding business

Karol arrives at a subway station and walks a long platform until he is in between tracks — this system looks very similar to the Chicago Transit Authority’s blue line inside the loop. He eventually runs into Mikolaj and he asks him if the guy still wants to go through

Nearly everything I know about Eastern European culture is based on what I read and watch. I’ve made one very brief trip to Warsaw that, to be honest, felt a lot like modern day Chicago to me, so I can’t extrapolate much of anything from it. But this

Karol is still holding onto that 2 franc piece, but as this segment opens, he is down by the river at night and contemplating tossing it in — perhaps a final goodbye to the French adventure that turned out so badly for him. But he can’t bring himself to throw

Kieslowski decided not to show us what Karol needed to steal before his flight back to Warsaw. It’s a plaster sculpture of a woman who bears some resemblance to Dominique that he saw in a store window. We don’t immediately know where Karol is as we watch an