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Three Colors: Blue(Trois couleurs : Bleu)

✭ ✭ ✭ ✭   Read critic reviews

France, Poland, Switzerland

1993

Rated R • 1h38

Krzysztof Kieślowski

Director

Juliette Binoche, Benoît Régent, Florence Pernel, Charlotte Véry

Stars

Drama

Genre

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In the first of Kieślowski's Three Colours trilogy, Julie is suffering after her husband and child are killed in a car accident. In shock, Julie sells her home and moves into an apartment, living alone and cutting herself from all social ties. Despite her desire to be alone, Parisian life has other plans.

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WHAT ARE CRITICS SAYING?

80

The Guardian by

The film is almost totally schematic and this weakens it. What strengthens it is the sheer emotional power of its making.
100

Washington Post by Hal Hinson

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.
88

ReelViews by James Berardinelli

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.
100

Los Angeles Times by Kenneth Turan

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.
80

Variety by Lisa Nesselson

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.
89

Austin Chronicle by Marjorie Baumgarten

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.
88

Chicago Sun-Times by Roger Ebert

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.
50

The New York Times by Vincent Canby

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.

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