Trzy kolory: Biały

I cannot say that I understood the relationship between the Polish handyman Jack and the French femme fatale Dominique. Like, I get that love can be a bitch but here it got a whole new never before discovered dimension. On the whole, however, it is relationship-wise a very interesting film where the climax of the theme comes in an ending which more or less worked. For the relationship misapprehension, however, I keep my rating at solid three stars. (20.01.2019)

Because I read all the praising positive reviews, I have to admit that my experience with Bílá was considerably weaker, even though the film undoubtedly contains several brilliantly crafted scenes. Kieslowski deserves a monument for his older films, such as A Short Film About Killing, A Short Film About Love, or Dekalog, which I found much more cohesive and functional. In Kieslowski's late work from the 90s, in my view, form prevails over content. I simply have a problem with the screenplay, which resolves many motifs and plot points in a fairytale-like manner, and they just come from wherever they come from. I don't mind that Kieslowski reveals only the minimum about many of his characters (such as Mikolaj). I consider that part of the director's game with the audience. However, I do mind that the characters undergo an implausible development. Karel, who is completely helpless, weak, and incapable of coping with his Parisian stay at the beginning of the story, magically transforms into a capable manipulator and successful businessman with the wave of a magic wand, even though he is just a trained hairdresser. The motive of revenge against his ex-wife, although it required tremendous effort and finances from the main character, is also overly complicated and ineffective. Kieslowski knows how to choose actors, knows how to direct them, and some of his views on Polish society in the early 90s are truly charming, but despite all of this, I am very uncertain about the film as a whole. Overall impression: 55%. (31.01.2009)

The pigeon that marks Karol Karol’s coat in the introduction also seems to indicate the direction of the second part of Kieślowski's Three Colors. Fascinated, Karol looks at the bird that has flown down the steps leading to the courthouse, the pigeon obviously likes him, but when it poops on the Polák's shoulder, the amazement is over. But Karol is not angry - he is disappointed that something so beautiful has done something so ugly to him. He may well be wondering why that stupid beautiful bird did it and how he can get revenge, but in the end he pulls out a handkerchief, wipes it off and goes to court anyway. Getting divorced from a beautiful French woman whose behavior he doesn't understand anyway, because he loves her and he's sure she loves him back. White is a bitter (almost) comedy that pokes fun of the conditions in Poland (where the story takes place after Karlo's return to his native country) and human relationships and feelings. It takes aim primarily at love, disappointment, revenge and forgiveness, which may or may not come. Again, it is superbly acted, directed and scored, but at times (like Blue) also somewhat unnecessarily long-winded. (20.11.2011)

The last of the trilogy that I haven't seen yet, although actually second in order, to maintain continuity. Kieślowski was such a unique director that he simply couldn't disappoint even with this film, which sometimes appears comical, but you always have the feeling that it hits close to home. Excellent performances, but an even better screenplay. (15.03.2016)