1993 1994. Trois Couleurs (tres Colores)

The second feature in filmmaker Krzysztof Kieslowski's "Three Colors" trilogy, the black comedy White features Zbigniew Zamachowski as Karol Karol, an expatriate Polish hairdresser whose French wife (the breathtaking Julie Delpy) divorces him after just six months of marriage because of his impotency. Penniless and devoid of his passport, Karol must journey back to Poland by hiding in a trunk. Upon his return, he slowly begins amassing a considerable fortune, ultimately hatching a perverse plot for revenge. Often unjustly dismissed as the weak link in the trilogy, White grows in strength upon repeated viewings. An allegory about equality, the film is mordantly witty, a cynical look at power, marriage and capitalism.

Valentine is a young model living in Geneva. Because of a dog she ran over, she meets a retired judge who spies his neighbours' phone calls, not for money but to feed his cynicism. The film is the story of relationships between some human beings, Valentine and the judge, but also other people who may not be aware of the relationship they have with Valentine or/and the old judge. Redemption, forgiveness and compassion…

The Three Colours Trilogy (Polish: Trzy kolory) is the collective title of three films – a trilogy – directed by Krzysztof Kieślowski, two made in French and one primarily in Polish: Trois couleurs: Bleu (Three Colours: Blue) (1993), Trzy kolory: Biały (Three Colours: White) (in French: Blanc) (1994), and Trois couleurs: Rouge (Three Colors: Red) (1994). All three were co-written by Kieślowski and Krzysztof Piesiewicz (with story consultants Agnieszka Holland and Sławomir Idziak) and have musical scores by Zbigniew Preisner. The films were Kieślowski's first major successes in the West, and are his most acclaimed works after The Decalogue.

This boldly cinematic trio of stories about love and loss, from Krzysztof Kieślowski was a defining event of the art-house boom of the 1990s. The films are named for the colors of the French flag and stand for the tenets of the French Revolution—liberty, equality, and fraternity—but that hardly begins to explain their enigmatic beauty and rich humanity. Set in Paris, Warsaw, and Geneva, and ranging from tragedy to comedy, Blue, White, and Red (Kieślowski’s final film) examine with artistic clarity a group of ambiguously interconnected people experiencing profound personal disruptions. Marked by intoxicating cinematography and stirring performances by such actors as Juliette Binoche, Julie Delpy, Irène Jacob, and Jean-Louis Trintignant, Kieślowski’s Three Colors is a benchmark of contemporary cinema.

Even though one can view each segment of Krzysztof Kieslowski's Three Colors trilogy on its own, it seems absurd to do so; why buy the slacks instead of the entire suit? Created by Kieslowski and his writing partner Krzysztof Piesiewicz for France's bicentennial, the titles–and the themes of the films–come from the three colors of the French flag representing liberty, equality, and fraternity. Blue examines liberation through the eyes of a woman (Juliette Binoche) who loses her husband and daughter in an auto accident, and solemnly starts anew. White is an ironic comedy about a befuddled Polish husband (Zbigniew Zamachowski) who takes an odd path of revenge against his ex-wife (Julie Delpy). A Swiss model (Irène Jacob) strikes up a friendship with a retired judge (Jean-Louis Trintignant) who eavesdrops on his neighbors in Red. The trilogy is a snapshot of European life at a time of reconstruction after the Cold War, reflected through Kieslowski's moralist view of human nature and illumined by each title's palate color.

Three Colors: Blue is the first part of Kieslowski's trilogy on France's national motto: Liberty, Equality, and Fraternity. Blue is the story of Julie who loses her husband, an acclaimed European composer and her young daughter in a car accident. The film's theme of liberty is manifested in Julie's attempt to start life anew free of personal commitments, belongings grief and love. She intends to spiritually commit suicide by withdrawing from the world and live completely independently, anonymously and in solitude in the Parisian metropolis. Despite her intentions, people from her former and present life intrude with their own needs. However, the reality created by the people who need and care about her, a surprising discovery and the music around which the film revolves heals Julie and irresistably draws her back to the land of the living. (http://imdb.com/title/tt0108394/plotsummary)

Praised by critics nationwide as one of the year's 10 best films, RED is a seductive story of forbidden love – and the unknowable mystery of coincidence. The final chapter in Krzystof Kieslowski's acclaimed "Three Colors" triology, RED stars sexy Irene Jacob (THE DOUBLE LIFE OF VERONIQUE) as a young model whose chance meeting with an unusual stranger leads her down a path of intrigue and secrecy. As her knowledge of the man deepens, she discovers an astonishing link between his past … and her destiny! Academy Award(R)-nominated for writing, direction, and cinematography, RED is Kieslowski's crowning achievement – a fascinating mystery sure to dazzle and entertain! Miramax

Valentine is a young model living in Geneva. Because of a dog she ran over, she meets a retired judge who spies his neighbours' phone calls, not for money but to feed his cynicism. The film is the story of relationships between some human beings, Valentine and the judge, but also other people who may not be aware of the relationship they have with Valentine or/and the old judge. Redemption, forgiveness and compassion…

The first part of Kieslowski's trilogy on France's national motto: Liberty, Equality, and Fraternity. 'Blue' is the story of Julie who loses her husband, an acclaimed composer and her young daughter in a car accident. The film's theme of liberty is manifested in Julie's attempt to start life anew, free of personal commitments, belongings, grief or love. She intends to numb herself by withdrawing from the world and living completely independently, anonymously and in solitude in the Parisian metropolis. Despite her intentions, people from her former and present life intrude with their own needs. However, the reality created by the people who need and care about her, a surprising discovery and the music around which the film revolves heal Julie and draws her back to the land of the living.

The three colors are blue, white and red. They are the colors of the French flag, of course, and they are appropriated by director Krzysztof Kieslowski along with the themes of the motto they more or less represent: liberty, equality, fraternity. But the films Three Colors: Blue (1993), Three Colors: White (1993), and Three Colors: Red (1994) are not hymns to patriotism or national identity and the Polish Kieslowski hasn’t any predisposition to making a statement at France. It’s better to think of this trilogy in similar terms as his The Decalogue, ten short films in which he reflects upon the Ten Commandments in terms more suggestive than literal. They are about morality in terms of life in Poland in 1989 and it is that vast collage of life experience in that time and place that is so powerful.