Very best movie i ever watch

Pretty good movie overall. First half was nothing special but it got better as it went along.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

How do we know what it is, essentially, that we liked about a movie? Which is to say, what do we know about this viewer who was affected by something he saw and it rang a chord? And what do we say of that experience, do we ascribe it outside of us?This is what we have here, questions of memory and meaning. A woman as viewer of a movie (played by Binoche as placid observer) taking spontaneous shape around her, that pokes holes in herself and provokes questions; finally overcoming it by being pulled forward by what was left incomplete in it.A woman who has lost everything as the film begins, every anchor in her life violently removed in one swoop and she's now cast adrift. We have the whole film as her own inner drift through an interminable flow. Kieslowski evokes this with lush dissonance between visual segments, cuts and fades that leave life in suspense. There is scant story, all about living with these fragments. Music erupts around her in sudden intervals; but music that's coming from inside of her and being hallucinated.It's the world of memory and inner life. Tarkovsky enters this with long, mystifying sweeps of the camera that lift bearings and slip into dreams and ruminations. Kieslowski by contrast caresses their outline, the surface of emotions as they glide over the eye. It's not difficult like Tarkovsky or Ruiz can be, but pleasant in the way of Kar Wai. It goes down rather easy, you can see it for just the surface shift.Kieslowski had spent the whole 10 hours of the Dekalog training this ability to dream in advance. It pays off here. Each of the 10 Dekalogs was about a narrative that an earth-shattering revelation comes along and creates a change in viewing. You will see this here obviously. But Dekalog had a contrast; some of it was Kieslowski opening corridors in the imagining with his camera, most was characters stumbling into revelations and articulating feelings. Here it's resolved in favor of the eye; the whole is about visual slippage through cracks in story.He lets blue lights shine on screen as music soars in crescendos, he gives us closeup shots of eyes; the eye that colors. At other points he introduces memory as images before a viewer: the funeral playing on a screen, images of her husband on TV that when shuffled through reveal a mistress. Most eloquently, images on TV of someone being cast over a void with a bungee chord as her anxiously precarious drift with nowhere to hold. She's fading from even the mind of her mother.For the end he reserves a tableaux of joined moments from lives as they are suspended briefly in mind. It's all being endlessly relived and combined like the music she works to complete with her composer friend. The music is central here. Not just as the memory of what was collaboratively lived with her composer husband, the emotion that was absorbed and now erupts again, but also as the sheet where an incomplete piece beckons for the work of continued imagination. The shot of this sheet as scribbled notes end and lines stretch interminably is the abstract heart at the bottom of it.Had another woman not made a copy of the score, it would have disappeared when she burnt it. Had she come by to pick up the photos of her husband, she might have burnt them with everything else and never found out about the mistress. But it's all this what pulls her out of herself.

I cannot be sure that Kieslowski cared much for the script of this film; otherwise he would not have made this 2-act film drawn out into the length of a 4-act. The symbols are there, elegantly shot perhaps, but not elegantly placed; the black screens and musical outbursts are overdone and obtrusive, to say the least. And when the widow, (shall we call her Ms. Blue? I don't remember her name) Ms. Blue, is given the cue for reflection (such as when waiting in the dark for an entire minute, deliberating on whether to open her apartment door to check on the remnants of a street fight), the actress "reflects" well -- but to what end? We get the feeling that Kieslowski is making a feature film from the pieces of a short film (what would be a fantastic short film!) and must slather a coat of cinematic, slow "art house" "reflective" paint over the missing pieces to hit a 80+ minute running time. Perhaps to make the film eligible for awards.It is a wonderful film, especially visually; unforgettable are the ultramarine swimming pool and a sugar cube absorbing coffee. But sugar cubes and swimming pools alone don't make for a feature film. The dramatic weight just isn't there, and the freshness of the visuals certainly don't mend the paucity.

I don't think I can emphasise how much I adore world cinema, an innocent pleasure vindicated by the 1993 French film Three Colours: Blue. Starring Juliette Binoche, the film treats us to a dreamy snapshot into human remembrance and existence, forcing us to meditate on our own experiences of life. The intelligence and reverie that Three Colours: Blue exhibits should convince anyone how world cinema, dare I say it, is superior to most of the films produced by Hollywood these days.Although I hate the fact that years of English and Drama studies have hardwired my brain to view everything as symbolically as possible, I will admit that the emblems and symbols presented in the film are simply astounding. What is particularly enticing is director Krzysztof Kieślowski's ability to utilise symbols in not only objects and locations, but in film techniques as well. The smooth tripod movements and natural lighting emphasise our stability as observers of Julie's story. I don't intend to bore you with the multitude of symbols in this film, but I will mention perhaps one of the most memorable scenes in the film. As Julie swims through the ghostly blue waters of the pool, her introspection brings her to one of the core messages of the film - no matter how hard we try to suppress bad memories, we are inevitably confronted and challenged by our past.Now, allow me to examine the story without a gratuitous analysis of symbolism that could make me sound all too posh. I think the film has a strong opening that is laden with mystery and coldness that conveys how we are both observers and participants of the narrative. Julie's journey throughout Paris brought me back a feast of memories, ranging from the solitude within cafés, to inhaling the sights and sounds of Parisan streets, and ascending through the labyrinthine staircases of apartments. I should also mention that the relationship between the story and soundtrack cleverly represents the various psychological states of Julie, with the lonely piano phrases emphasising her isolation, while the pan-flute of the busker symbolises the mystery surrounding life. Although I applaud the filmmakers' exploration of issues such as solitude and suicide, the biggest let-down for me was the fact that the film had a slow pace despite its 94 minute runtime. However, if you consider yourself to be a patient movie goer, this shouldn't be an issue for you. Despite this small crack in the armour, I was impressed with the cerebral, poetic and misty experience of watching Three Colours: Blue, and I found it to be a good film to end the week with.

That movie was my closest moment to feel the pain of a loss. It made me think of my possible moves if I lost one of my relatives and had to move on without them. At this point, Juliette Binoche was obviously perfect as she was really good playing her role. Also I have to point out that I spent plenty of time on the internet trying to find some good and valuable scenes from the movie because I really don't want to forget them and how I feel during these scenes! When it comes to Kieslowski and his different view for ordinary things, I can see the reason why I'm not a director or not even close to be a director. In the movie, Kieslowski has integrated art, music and death, any of which is extraordinary. However, it is also not easy to consider all of them together with a flawless relation!