White is, to some degree, pale compared to Blue (no pun intended), not just in terms of cinematography, but also in terms of storytelling. Out of the three, I actually think this one has the most interesting premise. A story about a man who exacts revenge against his wife after she dumps him piqued my interest right away. But it was bitter for me to say that Kieslowski’s execution is quite dry. White falls short of its premise and doesn’t live up to the carefully-orchestrated visual narrative of Blue that culminates in a strong cathartic release, which makes it such a satisfying emotional ride.

One of my biggest problems with the film is Kieslowski’s portrayal of Julie Delpy’s Dominique. She’s…

#Watched with Cormac

Have you ever written a review with a bad taste in your mouth? A bad taste that does not originate from the movie but from yourself? Let me elaborate: expectations can be the most toxic constituents of experiencing cinema. Try to scratch them off as hard as you will; you won't succeed. But that's not quite the case here, not exactly. Were my expectations let down by White? Yes and no. Kieslowski is in my opinion one of the least talked about geniuses in cinema, and the quality of his directorial efforts is unquestionable. No. The key to the enigma lies not in the quality but in the nature of my expectations.

White is the movie that…

White (color) is associated with light, goodness, innocence, purity, and empowerment. It is considered to be the color of perfection.

First off, White has a much lighter tone than Blue. I guess you could call White the more enjoyable film but I did not find it anywhere near as absorbing as Blue. White felt less arty. It does have the camera concentration on object and the returning motive of recycling tin, but not as noticeable. Instead it had a richer plot and slightly more characters. White was never boring, but I felt that something was off or something was missing to be as outstanding as the first movie. The ending left me puzzled as to what Karol wanted to achieve.

Another flaw…

I still love her. Even more than before. After all she did, I still love her.

Okay, first off. The elephant in the room. The somewhat muted response to THREE COLORS: WHITE from self-confessed cinephiles and even so-called Kieslowski buffs has proved all-too telling. What I can’t shake is the sense that this is what he wanted all along. For one, WHITE is Kieslowski through and through, giving off extreme ‘extended episode of DEKALOG’ energy in content and even presentation. A funny turn of events given that I’m only after watching SHORT FILM ABOUT LOVE, a literal extended episode. 

Allow me to elaborate. Compared to BLUE, the DEKALOG is an almost easy comparison to make but I promise you it…

Ed eccoci a parlare della pellicola forse più debole della notevole trilogia dei colori del maestro polacco Kieslowki. Oddio, ad avercene di film meno riusciti di questo livello, perché comunque stiamo parlando di un’opera interessante, forse il tentativo di avvicinarsi con una certa leggerezza al genere della commedia. Leggerezza che non preclude lo sguardo attento del regista e una sceneggiatura comunque ben congegnata, in cui il tema portante dell’uguaglianza (il bianco della bandiera francese) emerge con forza a partire dal processo. Il fido Zamachowski interpreta il protagonista Karol con i tratti gradevoli/sgradevoli dell’uomo a rappresentare un paese, la Polonia, uscita dal comunismo e ancora incapace di intraprendere un corretto percorso nel capitalismo liberale. Il tema della sessualità ritorna più volte,…