It is a film of much humanity and very far from smart European pap. But the external brilliance of its making does at times subvert its inner workings, as if its manufacture and its meaning were not quite in perfect harmony.
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In this final installment of a glorious trilogy (which includes the films “Blue” and “White”) he has saved his greatest for last.
Red is the best of the lot: warmer, more accessible, unusually generous toward its characters. A mystical tale of chance encounters and unexpected connections, Red uses a traffic accident as a springboard to discovery.
Red, the final chapter of Krzysztof Kieslowski's Three Colors trilogy, is a subtle masterpiece. With its satisfying exploration of such complex and diverse themes as destiny and platonic love, Red is not only a self-contained motion picture, but a fitting conclusion to the series.
Red succeeds so stirringly that it also bestows some much-needed magic upon its predecessors, "Blue" and "White." The first film's chic emptiness and the second's relative drabness are suddenly made much rosier by the seductive glow of Red.
Red, the beautifully spun and splendidly acted tale of a young model’s decisive encounter with a retired judge, is another deft, deeply affecting variation on Krzysztof Kieslowski’s recurring theme that people are interconnected in ways they can barely fathom. If it’s true — as the helmer has announced — that this opus will be his last foray into film directing, Kieslowski retires at a formal and philosophical peak.
This is the kind of film that makes you feel intensely alive while you're watching it, and sends you out into the streets afterwards eager to talk deeply and urgently, to the person you are with. Whoever that happens to be.