The film is almost totally schematic and this weakens it. What strengthens it is the sheer emotional power of its making.
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For Kieslowski, subtlety is a religion. He hints or implies -- anything to keep from laying his cards on the table. With "Blue," you never feel he's shown his whole hand; not even after the game is over.
As rich in emotional impact as in style, this motion picture sets a high standard that we as viewers can only hope the other two chapters of the trilogy will match.
Daring in its willingness to risk looking maudlin by dealing with extremes, Blue doesn't hesitate to explore spiritual and psychological states that are beyond many films.
Bold final sequence is a visual and aural crescendo calibrated to show that while each person is fundamentally alone, every life inevitably touches other lives.
Blue is a movie that engages the mind, challenges the senses, implores a resolution, and tells, with aesthetic grace and formal elegance, a good story and a political allegory.
Think of how we read the thoughts of those closest to us, in moments when words will not do. We look at their faces, and although they do not make any effort to mirror emotions there, we can read them all the same, in the smallest signs. A movie that invites us to do the same thing can be very absorbing.
Blue doesn't seduce the viewer into its very complex, musically formal arrangements. The narrative is too precious and absurd. The interpretation it demands seems dilettantish.