Krzysztof Kieslowski managed to become, to the end of his career, the director of reference of European cinema of the nineties . Strengthened its reputation by Decalogue (1989-1990) a television series based on the commandments of Moses, some of whose episodes were able to make the leap to the big screen. The television format (short and intense, fifty minutes), its ability to show certain misery and inconsistencies of our contemporary world - almost always related to ethical dilemmas - and dashes are solidly built, causing each new film by Kieslowski be expected as a deepening revealing of all these issues . His trilogy Three colors is composed of three films that are headed the French flag colors - Blue (1993), White (1994), Red (1994) - each related symbolizes the value in it: freedom, equality, fraternity respectively. Despite the seemingly secular project, Kieslowski's films is strongly influenced by the subject of God, hence many of their concerns and views coincide. Instead, from the perspective of a spectator not so much a Catholic culture, their stories are fables and small urban organized around a limited distribution, which illustrate behavior reveals paradoxes - generally pessimistic - about the human condition, leading to strange situations, often cruel. In this sense, Kieslowski's films is very close to moral tales and proverbial comedies of Rohmer.
The trilogy was a forerunner of the commercial benefits of shooting films in series and release them in successive years, audience loyalty and raising expectations. White -the second installment - not unlike the style typical of Kieslowski's films, although the narrative pulse varies substantially from the first delivery (starring Juliette Binoche is a disturbing, which makes a small cameo in the second) and even better in the third (played by Irene Jacob, who became hooked after his intense, sensual and very brief appearance in Adiós muchachos (1987), the masterpiece of Louis Malle). clearly dominates every film in color indicating the title, reinforcing the symbolic tone of the narrative, which thanked more specialized critics and viewers into the thick trends.
Centered on the theme of equality, White tells the story of Karol (Zbigniew Zamachowski), a man who, after going bankrupt and being cruelly rejected by his wife - Julie Delpy disturbing - notes how his life is undone by complete. In the subway he meets a man who not only promises to take him back to his native Poland, but a lot of money for killing a stranger. From these two premises, back in Poland, Karol's life will shift completely unexpected.
similar plot development threatens to become a very black history, lacking clear motivations and firm grips the viewer , a little style must kill B. (1975), the best film by José Luis Borau. However, Kieslowski unveiled a dramatic shift to first base humor (black, of course). And in the final third in a second (even third) twist, offers a very different reading of what has already been : In the first case with an accent distinctly romantic, in the second tremendously sad.
Kieslowski's films certainly influenced cinema Europe's most serious during the first half of the nineties, making the director, almost despite himself, in the chronicler of a society adrift in the ethical , facing the loneliness in everyday life and usually embodied by characters to whom the events move to the very limits of social behavior in the middle of crossroads where they must decide on issues that force them to rethink their lives. viewer, meanwhile, can not help be captivated by the skill of director - and his trusty screenwriter Krzysztof Piesiewicz - to establish effective and support originality points for stories that support more later diagnosis complex issues, such as society and the human condition. White is probably the best movie of the trilogy poised ( Blue - a favorite of moviegoers more experienced - I feel too cold and dull, while red is perhaps the most open and direct) perhaps because it presents an argument closer to a reality that majority and double twist. Yet I must say - even though this statement thrown upon me the wrath of his argumentadísima fans - that the moral view of Kieslowsi accuses the passage of time and color trilogy is not quite ignore this fact.
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