Blue is my favorite. But Red is an extremely close second.
Per me il migliore della trilogia. Elegantissimo, praticamente perfetto tecnicamente: nei movimenti di macchina, nello studio per i particolari maniacale (ancora torna l'attenzione cromatica per il rosso, sempre presente sulla scena) e nella composizione del quadro. A tal proposito, magnifico il finale, nel quale vengono richiamati gli altri film e che si conclude con la stessa immagine della pubblicità. 4*
Whilst I find Blue a little too swept up in middle-class to seem universal (though I do wonder if that's something Kieslowski is trying to hint at with it), Red is a fantastic appraisal of a more universal essence of being. The characters backgrounds are as important and it expertly draws together fraternity and inter-connectedness in a non-sentimental but incredibly powerful and well-crafted way.
probably my favorite of the trilogy, Red is a multi-layered reflection on fate and human relations, and more than that, the film juggles with many universal themes: law vs justice, love, the parallels of individuals lives.. the performances are sublime, the musical score is lovely and the red color palate works wonders visually and psychologically
"I want nothing. Then just stop breathing." Passion is the finale. Lust and jealousy are close by. These are the more dramatic sides of love and make for the best movie. Here characters learn most. Vanity is the greatest deciever of beauty. Here love is farthest away from eternal. The sound is PHENOMENAL in all three of these films -maybe the best. Appropriate to have his confession take place in an orchestra pit.
The soundtrack: cars passing. Outside my window, the street replies, too. I'll miss the sound, like waves coming in and going, and the skids of bare feet on hot sun-dried sand. Some films are vehicles for reflection. Red let my mind wander free, to an understanding of the deepest reasons why I love cinema.
I'm not sure "better" should be part of the conversation when considering Blue and Red. Both films are equally as challenging and eagerly engrossing, so it really becomes all about what you like. & even though I love Juliette Binoche & the lush musical density of BLUE, the color and visual space of RED is the most riveting of any Kieslowski and Jacob's performance is a sight to behold.
Piotr Sobocinski's photography is not only beautiful to behold but thoroughly exquisite in richness and detail. Like masterful, painterly compositions, they imbue the film with a certain look and mystique. The quiet, intelligent conversations between Jean-Louis Trintignant and Irene Jacob are riveting. Zbigniew Presiner's score is beautifully dirge-like and ethereal. The best out of the Three Colors Trilogy.
This movie has the most intriguing plot explained in such vividly-red-themed settings that at times I was engrossed in the scenes, totally forgetting to read the subtitle. I also love the way the movie leaves room for different interpretations. It is a serious kinda movie but you just can't get bored. Your eyes are evoked with imagery, your mind with shrewd dialogues, and your heart with broken romance. A great film!
It's like the most beautifully shot Dickens' film (that isn't a Dickens' film). I wonder if the narrative's sometimes staggering reliance on coincidence (the trait that it shares with so much of Dickens' fiction) sometimes lessens what is otherwise poetic, artful, and affecting (especially visually affecting) about the film. Most enjoyed the scenes between Trintignant and Jacob.
Me gusta que esta película difiera con las clásicas historias de amor (porque al final eso fue), dista mucho de las películas cursi, este es una forma mas cruda y real de como se vive en una relación, y aparte hay una atmósfera que es común en las películas de Kieslowski, algo como etéreo que me agrada.
GEEZ! This is the film. I immediately fell in love and then two days later after seeing it, Criterion releases the whole trilogy. Perfection.
I am deeply, deeply moved and affected by these three films. I cannot say that I've ever had a cinematic experience quite like it. All three films are ethereal, mystical meditations unto themselves, but with the summation comes a colossal catharsis. Sadness doesn't even begin to describe the loss of Kieslowski. He left us with a bewitching human trilogy that will remain in my soul for years to come.
I’m not sure I completely grasped this film’s sprawling narrative and ambiguity, but I still sure enjoyed it a lot. Extremely intriguing, and quite a haunting work all-round. And of course, it’s not without Kieslowski’s usual, stunning sense of rhythm, sensuality and humanism.