Three Colors: Blue

1993
7.8| 1h38m| R| en| More Info
Released: 05 December 1993 Released
Producted By: Zespół Filmowy "Tor"
Country: Switzerland
Budget: 0
Revenue: 0
Official Website:
Info

The wife of a famous composer survives a car accident that kills her husband and daughter. Now alone, she shakes off her old identity and explores her newfound freedom but finds that she is unbreakably bound to other humans, including her husband’s mistress, whose existence she never suspected.

Genre

Drama

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Director

Krzysztof Kieślowski

Production Companies

Zespół Filmowy "Tor"

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Three Colors: Blue Audience Reviews

Karry Best movie of this year hands down!
Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.
Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.
Logan By the time the dramatic fireworks start popping off, each one feels earned.
Lee Eisenberg "Trois couleurs: Bleu" ("Blue" in English) was the first entry in Krzysztof Kieślowski's Three Colors trilogy. Named after the colors on France's flag, the trilogy focuses on stories involving France's national motto: Liberty, Equality, Fraternity. Kieślowski said that "Blue" looks at emotional, rather than political, freedom, as Juliette Binoche's widow Julie is no longer bound by family life but can't fully escape her past. This continuing connection is embodied in the lamp of blue beads, and in the footage of bungee jumping (in which the cords become more apparent as the movie progresses, symbolizing evidence of a link to the past). Most importantly, there is the music: much like how music consists not of a single note but of harmony with other notes, Julie cannot stay isolated from the rest of the world. Thus it's an anti-tragedy: Julie's attempt to erase her past call into question whether love and freedom can coexist.This is the first Kieślowski movie that I've seen, and I'm really impressed. His use of scenery and colors to tell the story mirrors Stanley Kubrick's style of filmmaking. Juliette Binoche won both a Golden Globe and a César for her performance, as well as an award at the Venice Film Festival (all well deserved). As for the director, I hope to see the other entries in Kieślowski's Three Colors trilogy, as well as his other works. It's too bad that he retired after finishing the trilogy and then died of a heart attack.
SnoopyStyle This is the first of Krzysztof Kieślowski's colors trilogy. Blue is Liberty. Julie de Courcy (Juliette Binoche) survives a car crash which killed her husband Patrice and her daughter. Patrice is a famous composer who was commissioned to produce a piece for European unity. Julie tries to commit suicide and then escape from the glare of her former life. She befriends exotic dancer Lucille. An old friend Olivier is also a composer and suspects the composition is actually Julie's. Patrice had a mistress. Julie has to break out of her darkness. Kieślowski uses everything including color, silence, music and most importantly Binoche infusing this with meaning. This is very much an art-house film and may not be for everyone. The quietness does lower the intensity. It's slow and meticulous. There isn't much of a plot. It's all about Julie's darkness and the reveal that can break through.
Joseph Pezzuto "Now I have only one thing left to do: nothing. I don't want any belongings, any memories. No friends, no love. Those are all traps." Krzysztof Kieślowski's 1993 French drama film 'Three Colors: Blue' is one of three films from the Three Colors trilogy (all directed by Kieślowski, the other colors being White and Red), depicting the first color in the French flag, standing for liberty. But how does the first installment of this trilogy series play out? Let's take a look. The film tells the story of a beautiful young woman named Julie (Juliette Binoche) who survives a car crash while tragically losing her musician husband and daughter and later on becomes haunted by grief. Filled with remorse and bitterness, she tries to shut out memories of the past and the world itself to melt into her own misery, at one point indulging herself in trying to swallow a capsule of pills, another by scraping her bare knuckles against a stone wall as she walks along, drawing blood. In a close-up shot for one scene in a café, we see her dipping a sugar cube in some coffee, showing us how once something pure can quickly become stained as her life had now become. Certain sounds amplify the story at certain and are key, allowing the film to breathe in a sense as would the incomplete piece her former husband wrote with its beats, tempos and musical nuances or as any other arrangements of composed music as well. Besides the many things being blue that are in this film, the primary focus are what we as the audience will either sense or feel throughout. Whenever Julie encounters a friend from the past, the screen fades to black and we hear a chord from her husband's unfinished symphony. Moments later the screen fades in again and we return to the scene at hand. Here we are to experience the emptiness of this character's psyche for a brief moment and her yearning to be set free from what has ensnared her being. We hear more than we see rather; her inner anguish writhing within followed by the sudden oomph from the full orchestra whenever it fades to black. This happens two or three times more in the film; fading to the darkness for an instant, the chord of a symphony and then fading back in. When something is repeated it is usually for emphasis, and in this particular scenario the director allows sound as well as sight to flourish in volumes. To the sound of a homeless street performer droning her deceased spouse's tune on a recorder to almost being able to smell the hot coffee in a local café, this picture is truly a film for the senses. 'Blue' weaves a mysterious orchestra of senses and emotions together all on its own to capture the essence of grief, loss and the uncertain bonds that must be mended regarding the present state and the future.
Francesco Martini Julie Vignon has lost her husband and child in an accident. The film tells about the new history of her life after the accident, in the meeting of symbolic objects, people and places.Probably I have quite of an enmity against slow-rhythm movies, and that's why I wasn't able to appreciate this at all. Then, if you do like pointless visual photography (by the way, what the hell did go wrong with Kieslowski and the cups of coffee?), illogical characters making illogical actions, please go ahead, this movie is perfect for you. Otherwise you should try something else.In synthesis, I won't say that this movie is bad because a lot of people seem to have found it visionary, I will rather say is not the right movie for my personal taste.