100
The Guardian by Peter Bradshaw
There is a wonderful reach and flair in Kieślowski’s film-making.
Three Colors: Blue (Trois couleurs : Bleu)
Critic Rating
(read reviews)User Rating
- France,
- Poland,
- Switzerland
- 1993
- · 98m
Director
Krzysztof Kieślowski
Cast
Juliette Binoche,
Benoît Régent,
Florence Pernel,
Charlotte Véry,
Hélène Vincent,
Philippe Volter
Genre
Drama
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?
100
Empire
What lifts it out of the doldrums is Kieslowski's fascinating use of reflections, focusing techniques and camera angles to give the somewhat pedestrian material a profound and otherworldly East European feel.
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.
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.
100
Empire by Marcus Trower
What lifts it out of the doldrums is Kieslowski's fascinating use of reflections, focusing techniques and camera angles to give the somewhat pedestrian material a profound and otherworldly East European feel.
100
CineVue by Patrick Gamble
Like delving into a cold cave of human emotion, Three Colours: Blue is the jewel in the crown of Kieślowski’s trilogy – a fascinating examination of freedom, sorrow and identity, and perhaps one of the most necessary films of contemporary French cinema.
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
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.
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.
80
The Guardian
The film is almost totally schematic and this weakens it. What strengthens it is the sheer emotional power of its making.
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.
80
The Guardian by Derek Malcolm
The film is almost totally schematic and this weakens it. What strengthens it is the sheer emotional power of its making.
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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