Three Colors: Blue

Three Colors: Blue

1993 ""
Three Colors: Blue
Three Colors: Blue

Three Colors: Blue

7.8 | 1h38m | R | en | Drama

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.

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

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.

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Cast

Juliette Binoche , Benoît Régent , Florence Pernel

Director

Claude Lenoir

Producted By

Zespół Filmowy "Tor" , Canal+

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Reviews

sudethetosun The director and the cast made an amazing job in this film. What I liked most about this film is that every detail is very well-written and thinked. Moreover, the film itself has a cozy and comfortable atmosphere; I don't really know to how to explain this. In conclusion; the film deserves a 10/10 in my opinion.
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.
gavin6942 A woman (Juliette Binoche) struggles to find a way to live her life after the death of her husband and child.Nothing against the plot, but this is a visual film. As with the other two films in the trilogy, the color of the title features prominently in the color scheme. Here, unlike "White", the blues (and greens) jump out everywhere without being overwhelming. The elements are intense, but well-used.Does it compare to "Red"? Based on what everyone seems to think, it does not. But everyone should make up their own minds -- watch all three.
Turfseer This is the first film in Polish director Krzysztof Kieślowski's Trois couleurs trilogy based on the French Revolutionary ideals of liberty, equality, and fraternity. The high point is Sławomir Idziak's sumptuous cinematography and when all is said and done, 'Blue' is a fine film to look at. But in terms of story, it's also a slow-moving affair and if you don't have a lot of patience, you might find the narrative an exercise in unfortunate ennui.Juliette Binoche plays 'Julie' whose famous composer husband and young daughter are killed in a car accident at the beginning of the film. Totally shattered, Julie first attempts suicide but can't go through with it. Instead, she decides to withdraw from life by putting up her home for sale, place her Alzheimer's afflicted mother in a nursing home and renting an apartment in Paris without telling any of her friends and family. She also destroys her husband's unfinished musical score (commissioned to promote European unity), which she may have actually composed herself.The main question we're left with (as robot-like Julie makes her way through her self-imposed life in exile) is, when will she come out of it? Along the way, however, she's determined to prove that she can go through life with all her emotions deadened, as a sort of impotent protest against the cruel fate bestowed upon her. Hence, when Olivier, a former composer colleague who's in love with her, finally finds out where she's moved to, Julie has sex with him and then cruelly tells him never to see her again. And then there's all those scenes swimming in the pool—we hear the booming sound of the unfinished symphony impinging on Julie's consciousness. This obviously signifies her inability to repress her emotions completely.Kieślowski argues that in the mourning process there comes a point where demands for kindness in ordinary life must intrude on the mourner's determination to maintain their inflexible stance of anger and denial. Case in point: Julie answering exotic dancer's Lucille's call for help when her father shows up at the strip club. Or Julie deciding not to hold a grudge against Sandrine, her husband's mistress, by allowing her and the new baby, to live in her family's home. While Julie probably is still not overjoyed by Sandrine's actions, this is her way of 'moving on', and also acknowledging that she must help the baby, which belongs not only to Sandrine, but to her late husband as well.Julie finally breaks out of her shell by getting involved with Olivier. At the denouement, Olivier gives Julie the ultimatum about the unfinished score (a copy turns up preserved)—he'll complete it with all its 'roughness' or Julie will take over completely, but admit to current and past authorship. But Julie's decision is ambiguous in terms of who takes credit—what's important is that she's involved in collaborating and is no longer alarmingly self-absorbed. As the presumed completed symphony plays, we see shots of the various individuals who Julie touched, in spite of her self-defeating but thankful short-term exile. And the housekeeper who earlier cries for Julie because she's unable to mourn, can now rest assured that Julie is finally beginning to cry herself.Part of the 'Blue' problem is that there is no external conflict going on. The conflict exists solely in Julie's mind. The characters that impinge upon her are not developed in great detail—they exist as a catalyst for Julie's recovery. There's also the natural tendency to feel sympathy for a character that has experienced an unfathomable tragedy. Nonetheless, Julie's recovery is rather predictable and I'm not convinced that explorations of the mourning process in itself, should really be the subject of a full-length feature film. On the other hand, if you're a patient film goer, the film's visual palate, is worth the price of admission.