After the introspection and emotion of Three Colours: Blue comes the playfulness and deviousness of Three Colours: White. Often regarded as the weakest of the trio, it is actually quite easy to see why, although anybody using that as a weapon to beat it with is being incredibly harsh.

After all, it's up against Three Colours: Blue and Three Colours: Red, and two finer films you will rarely see. Ever. Of course, it's not as if it's a competition or anything but I think it would be fair to suggest that Kieslowski probably knew that in terms of its emotional weight and depth of characters it was not going to be as strong as the other two films in the trilogy judging by the brevity of the film and how relatively quickly its resolution is arrived at.

Polish hairdresser Zbigniew Zamachowski is being divorced by his Parisian wife Julie Delpy after she claims that he was never able to consummate their marriage. She makes it clear that she never loved him and, after she takes control of all their joint assets, he ends up sleeping rough before befriending fellow Pole Janusz Gajos who helps him return to Poland and puts him on the road to revenge against his ex-wife.

It's also widely regarded as the 'funny one' and while it's not exactly Blazing Saddles or Way Out West on the comedy front, the doom that just seems to keep piling on Zamachowski is blackly comic and deftly handled in a way that things never seem bleak or depressing for him. He helps immensely with a really likeable performance, while Delpy is both incredibly beautiful and brilliant at handling the deepest characterised role in the film.

I think that plot-wise I had trouble with the very vague motives involved with the murder / suicide storyline, plus with the ambiguous ending (although Delpy gives a lovely explanation for some of Kieslowski's ideas behind it here - goodness me she is lovely, be still my beating heart!) but it never felt too rushed so that anything felt unbelievable.

Weakest of the three? Certainly. Weak? Not a chance, mate.