Julie (Binoche) loses her composer husband and their child in a car crash and, though devastated, she tries to make a new start, away from her country house and a would-be lover. But she is haunted by the music that still surrounds her and by some unpleasant facts that she uncovers about her husband’s life.
Slowly Julie learns to live again, as music and the gift to create it prove to be a healing force.
A towering figure of Eastern European cinema, Krzysztof Kieslowski was born in Warsaw, Poland, on June 27, 1941. His formative years, spent under the specters of Hitler and Stalin, were nomadic; his father suffered from tuberculosis, and the family traveled from one sanatorium to another. At the age of 16, Kieslowski entered Fireman’s Training College. His stay was short-lived, instilling a lifelong loathing of uniforms and disciplines. To avoid military service he returned to school, later attending the Warsaw College for Theatre Technicians. In 1965, after several previous rejections, he was finally accepted into the famed Lodz Film School — the same institution which launched the careers of Roman Polanski, Andrzej Wadja, Jerzy Skolimowski, and Krzysztof Zanussi — and made his first short feature, Tramwaj (The Tram), the following year.
The communist-controlled Poland of the 1960s and 1970s was a nation of great political unrest. Consequently, film emerged as a crucial means… read more
Blue is a classically Kieslowskian puzzle of a film -- arch, kaleidoscopic, somewhat heavy-handed in its symbolism, but deeply felt and luminously beautiful. Julie assures Olivier he will forget her after they make love, because he now knows that she is "like any another woman: she coughs, sweats, has cavities." For her love is a matter of idealism rather than materialism, and since her ideal has shattered with the death of her husband and daughter, the world and everything in it amounts to nothing. Her redemption -- if that's what it is -- depends on her falling back into the "trap" of caring about other people, allowing herself to be drawn first into story, then into song, and finally into the fraternity without which why bother.
Film Blu potrebbe vivere semplicemente grazie alle immagini e alla colonna sonora. Stupenda l'attenzione per i particolari cromatici (il blu è continuamente chiamato in causa, con grande eleganza: gli abiti, la piscina, l'inchiostro sulla partitura). Juliette Binoche è meravigliosa: tanto bella quanto brava. 4*
In the early 1990’s after the collapse of communism in Poland, filmmaker, Krzysztof Kieslowski (1941 – 1996) would again collaborate with lawyer, politician, and good friend Krzysztof Marek Piesiewicz… read review
Krzysztof Kieślowski is a director I’m admittedly not as familiar with as I would like to be. Having seen “The Double Life of Veronique” I immediately was hooked on his visual style, and almost operatic… read review