Three Colours: Blue

In the last scene, we watch Julie mourn. She mourns with some pride when there is talk of her late husband’s compositions, because she knows that they were also hers. But she mourns more deeply for the loss of her daughter Anna. It is one thing to lose a

“Blue” is a film that starts off painful and difficult. It slowly becomes easier to watch throughout its runtime, reaching a conclusion that is powerful and joyous. We can bear to watch the early scenes only out of pity for Julie and what she must be experiencing. But Julie is

Il n'y a qu'un problème philosophique vraiment sérieux : c'est le suicide. Albert Camus Returning from the fade the black, the film gives us a long shot of a feather, golden, undulating in the air current. We see a fuzzy image of a man approaching.

”Blue” opens in tragedy. In his review of the film, Roger Ebert called “Blue” an anti-tragedy in the way it subverts our expectations. While tragic flaws lead to the destruction of protagonists in the classical model, Julie has a different destiny. She cannot escape her innate kindness no matter how

I cannot think of a more Montaigne-like film than the 2013 Krzysztof Kieślowski movie “Three Colors: Blue.” I have no idea if the Polish director had read Montaigne or even if he did, if he considered the similarities between this first film in his European unification trilogy and the essayist.