Very well executed

Nice effects though.

It is a performances centric movie

A brilliant film that helped define a genre

The dramatic start is the foundation stone of the second film of the three colors of the Kichlvskist cinema. The desperation of a helpless lover, whose integrity depends on frustrated marriage, does not earn anything out of helplessness and frustration. A surface close to below zero, which usually does not enter any human tolerance. A dream with the guys who is a fellow countryman is a successor to success. Of course, the success cycle after immigration is high enough that this is not a success in the whole and in the real world, but it is anxious or, to some extent, to be said that the wisdom of the first person of the story, marks the steps for him. The confrontation and acceptance of the issue of murder is the turning point of the story, which is well implemented and controlled, and this is one of the characteristics of the director. The three most important parts of Despair, Success and Game complete the puzzle of the film. Part III is the storyline initiated by Carol from the start, and during the film he pursues emotional revenge from Dominic. It ends with frustration with anxiety and reaches its goal or not. Kishlovsky's films have to be seen for not believing the idealist message. Due to the simplicity of the issues, stylistic stories are being performed that illustrate the seventh art of reality in the narrative of every kind of superficial issues, and this is the greatest honor of art for both him and the cinema.

While 'Three Colours: White' may be the weakest of Krzysztof Kieslowski's "Three Colours Trilogy", that is in no way saying that it is a bad film (to me it was actually still an extremely good one) and that it's testament to the trilogy's consistently high overall quality.'Three Colours: White' could have been a little longer to give more development to the two leads' relationship and to Julie Delpy's character perhaps, and there are a couple of parts that do strain credibility. On the whole though, it is an entertaining, sad and thought-provoking examination of equality and revenge with a story detailing love on the rocks and the aftermath of Poland's Communist Regime.Again it is very symbolic, especially in the linking to the protagonist's past (this time with a coin and a Marianna plaster bust) and again the recycling of bottles that ties in with the film's main theme of equality. This symbolism is this said intriguing and visually arresting, instead of being incoherent, one may not get the significance of it at first but reading up about the film and analyses of it has proved to be tremendously insightful.Visually, 'Three Colours: White' is every bit as visually stunning as the previous film 'Three Colours: Blue'. The scenery is intentionally not flattering but at the same time it is also affectionate, and the film is exquisitely shot with the use of colour bold and striking. The music is not quite as symbolic as in 'Blue', but is still very much inspired and cleverly used, with a dark jauntiness to match the blackly comedic nature of the film and also a little pathos to mirror the emotions of the protagonist.Writing is of the true black comedy/dry humour kind, enough to make one laugh heartily and cry unashamedly, with plenty of funny and poignant moments as well as blunt and thought-provoking ones. Kieslowski's direction is never intrusive.Zbigniew Zamachowski excels par excellence in his tragicomic role, a very funny and nuanced turn. Julie Delpy's role is not as interesting, but she does bring a formidable edge and sensuality to it.On the whole, the weakest of the trilogy but still extremely good. 9/10 Bethany Cox

White is the purest color and seems like nothing harmful in there, peaceful. That's my first impression of this movie and I changed my thoughts.The movie can be summarized as a word:'revenge'. It was totally different with white color. The whole movie is full of plain color like black white grey, and they mean the life of Karol. However there are sharp colors such as orange and red when Dominique appears. She has strong desire of sex and love.So it is obvious that there is a contrast between Them and may be they are in different world.The most unforgettable part is the ending. Because Karol visited Dominique in the prison but they are in different emotions. Karol was crying and looking at her but Dominique smiled and did sign language. She said the Karol must wait her back and have sex with her(or marry again?). To me, They are in different stage of love. Karol did the revenge and still in love with Dominique. On the other side, Dominique was satisfied with the power she got in the relationship so she just want to enjoy that again but may be not related to her love to Karol.Overall, the color was the main feature of the movie and brought out the relationship between this couple. Krzysztof Kieślowski told us White should be pure and equal but not in love.

at first sigh, a revenge story. in fact, only a window to Kieslowski definition of life. a portrait of cultural borders. and drawing of the need to be part of the other.a Polish story and splendid role for Julie Delpy. a film about love, fear, vulnerability and search of sense. and subtle, nuanced performance of Zbigniew Zamachowski. a letter from East. honest. so, cruel. with a beautiful end who defines entire cold poetry of movie. sure, it is a profound subjective review because, I admit, Kieslowski remains for me more than a brilliant director but a great witness , who not only present but defines the details of a period, the roots of a world who remains gray in light.