This was Kieślowski’s last work. His last film, two years before he passed on. And how incredibly fitting this was, to serve as an artist’s final word. Red, the third of the series, is recognized as the trilogy’s anti-romance, but that would be a gross understatement. It is a film about remorse, companionship, empathy, choice, circumstance. How much of life is owed to chance, to the harmony of imperfection. How negligible shifts in the cosmic scheme could mean the difference…
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Three Colours: White 1994
Pegged as the anti-comedy of the trilogy, White basks proudly in chronic self-contradiction. Lumbering yet straightforward, undirected yet resolute, hilarious yet deadly serious, it operates on a mechanism of deep-seated irony. It follows the story of a Polish man, suddenly displaced as his wife puts him through a merciless divorce, leaving him with no money, no home, and no country. The film documents the classic tale of revival and retaliation, employing just the right amount of sardonic humor and graceful…
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Three Colours: Blue 1993
It’s a haunting picture of what it means to grieve, of how incapacitating it is to suddenly find yourself alone, no longer able to feel, to trust, stuck between somewhere and nowhere. It’s immensely truthful, and it’s beautifully accompanied by an unfinished concerto that perfectly punctuates the most striking moments in the film. Blue also boasts one of the most artful, satisfying endings I’ve seen to this day. A must-see for any arthouse and French cinema lover.
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Arrival 2016
Arrival was a quiet thriller, driven by well-paced storytelling, compelling visuals, and superb acting. (Needless to say, Amy Adams was stellar, and her performance as Louise carried the whole movie from start to finish.) The film thoughtfully addresses one of the biggest hypotheticals to puzzle mankind: is it possible to communicate with other forms of life? The story reinforces just how herculean of a task this is, and how powerful language is as a framework for thought. And although the…
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