Can't be seen outside the moment of New Age & the triumphant coming together of a wounded rejuvenated Europe. Visually arresting it reminds of the spiritual grand, soothing semidocs of the era (Baraka, Latcho Drom) with a contrasting Eurocentricity. A silent scene in the sun with an old woman slowly walking to discard a bottle is unforgettable, 1 of the tormented self-searching Julie's encounters with other women.
When a movie invests in slow-motion transitioning and static pacing the director has to garanty that there is some sort of accumulation or layering, and if the end isn't rewarding, the movie in it's entirety isn't aswell. Just my opinion, textures were crucial but the colour pallet could have been more consistent, seeing there is a colour being explored
The word beautiful doesn't even begin to describe the intricacy and allure of this film. Each scene, line, symbol and movement made by Julie are as delicately chosen as each note in her late husband's score. Even still Kieslowski beckons us to look further and ever deeper into Julie's wrenchingly melancholic soul. Divine and totally arresting on every level. (4.5 stars)
1/3 The first of the trilogy and from what I gathered, everyone's favourite. The second one, white, seems to be the least praised, to my misfortune because I absolutely adore Julie Delpy. The cinematography was drop dead gorgeous, the score was hauntingly beautiful, and I loved everything about this. I don't give 5 star ratings to first watches, especially as this is the first of a trilogy so I'll wait for the rest.
All I really remember about this film was that I was a young and a inexperienced cinema lover, and at the time it was a powerful experience to watch a story being told with such long periods of silence. Maybe my memory is indeed a color, and a sense of sensory, emotional landscape. And not like the usual effect time has on the memory of stories: the story was whispered in my ear, and now I can only tell my version.