In this first section of his THREE COLORS trilogy, director Krzysztof Kieslowski's noted visual style is amply on display: images are transformed from the familiar into the unearthly, with a sense of dislocation permeating the whole. When Julie (Juliet… (more)
In this first section of his THREE COLORS trilogy, director Krzysztof Kieslowski's noted visual style is amply on display: images are transformed from the familiar into the unearthly, with a sense of dislocation permeating the whole.
When Julie (Juliette Binoche) survives a car crash that claims the lives of her classical composer husband Patrice (Hugues Quester) and young child, she attempts suicide. After her convalescence, she instructs her lawyers to dispose of the family estate and all her belongings, and disappears,
moving into an apartment in an unfamiliar new neighborhood. Julie hears that a composer friend and former lover, Olivier (Benoit Regent), has been asked to complete a piece that her husband had been working on for an important series of concerts. With Olivier's help, she confronts the facts of her
husband's past and reckons with the mysteries surrounding his music.
While BLUE might at first be seen as a kind of elegy to genius, as Julie seems to have dedicated her life to upholding the myth of her husband's brilliance, it gradually turns into an examination of things that aren't what they seem to be. Juliette Binoche is almost always on screen and
Kieslowski and his camera seem enchanted by her, perpetually finding new ways to photograph her coolly beautiful face. The music, by Zbignew Preisner, is heard mostly in short snippets, but swells to a full-length finale at the end, revealing itself as rather kitschy and bland.
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