Three Colours Trilogy

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Film Description

Kieslowski's superb and universally acclaimed meditations on Liberty, Equality and Fraternity. Includes the previously unavailable documentary on Kieslowski 'I'm So-So...' on the fourth disc.

Film Information

DVD Extras

Four discs; Kieslowski masterclasses; Making-of documentaries; Interviews with Juliette Binoche, Julie Delpy, Irene Jacob and producer Martin Kamnitz; Excerpts from Preisner's original soundtrack; theatrical trailers.

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Review by David Parkinson on 10th April 2004

Given that nothing in Krzysztof Kieslowski's canon could ever surpass his monumental TV series, The Dekalog, this trilogy has to settle for being his cinematic masterpiece. Suggested by his longtime script collaborator Krzysztof Piesiewicz, it makes a positive virtue of its tripartite nature.
Each film represents a different tenet of the French Revolutionary slogan `Liberty, Equality and Fraternity'; each adopts a colour of the French tricolour to dictate its mood - blue (melancholic, reflective), white (innocent, cold) and red (passionate, dangerous); and each employed a different actress and cinematographer to emphasise its contrasting tone - Blue (Juliette Binoche, Slawomir Idziak); White (Julie Delpy, Edward
Klosinski) and Red (Irène Jacob, Piotr Sobocinski). There would also have been three distinct settings - Paris, Warsaw and Geneva - had not the French capital also appeared in the opening scenes of Three Colours: White.

Premiered respectively at Venice (September 1993), Berlin (February 1994) and Cannes (May 1994), the films had an aura of summation about them, as if Kieslowski was going to fulfil his threat of retirement at the peak of his powers. Ultimately, his sudden death in 1996 ensured that the trilogy was to be his last testament - one that reinforced his reputation for a compassionate understanding of humanity, with all its flaws and failings, and his ability to make cinema both literary and visual, complex and accessible at one and the same time.

As well as offering a range of interviews and commentaries, this boxed set also includes Krzysztof Kieslowski: I'm So-So..., a deeply personal portrait and uniquely informed insight into the mind and working methods of one of modern European cinema's few genuine geniuses by Krzysztof Wierzbicki, who had served as Kieslowski's assistant since 1972. It's not a comprehensive career retrospective, but it provides a fascinating snapshot of an artist coming to terms with his decision to quit.

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