Just a bit too convenient for the plot for my liking. I know that ending is unrealistic because most women would have went crazy mad what he did. It's a rag to riches story but simplified almost to the special school spectrum of pushing the plot forward and lacking the emotional impact that 'Blue' had in it. It's more a cool down from the emotional rollercoaster that it's predecessor put you through in the trilogy.
Janusz Gajos as Mikolaj is the most interesting character, but we don't get nearly enough of him. The main revenge plot feels juvenile--like the fantasy of an emasculated schoolboy. I don't buy that Delpy's haughty character could ever have fallen for Zamachowski's goofy persona to begin with. If Gajos had been the lead, there might have been suitable gravitas. Also, that flash of orgasmic white--nonsense!
All the white seems fairly arbitrary, aside from evoking false purity, emptiness, and Christian austerity that ultimately don't reach beyond two characters, so the film feels more like an exercise in 'how white can I make it'? And it's too bad because the white doesn't do justice to the grit of a visceral, if simple, tale of revenge between lovers. It feels self-contradictory, overall. Still, enjoyable.
The director's charisma in disclosing genuinely metaphysical layers of contingency in everyday-life focuses here on the problem of ethical, monetary and legal compensation. This receives here an astute expression with regards to 'equality's' twisted meaning, from intimacy to international relations. With a keen eye for the detail, as if each contains a universal meaning, K. rescues love's 'equality' in the gaze.
In a way, this felt like an affirmative version of the story that we also see in the tortured 1984 Konchalovsky's Maria's Lovers. And it is kind of sadder and more cruel. In Kieslowski own filmography it seems to anticipate, plotwise, what we would see in The Double Life of Véronique. I'm yet to see Red, so I don't have a global idea of the trilogy.