Three Colors: Blue (1993)
Directed by Krzysztof Kieślowski
The wife of a famous composer survives a car accident that kills her husband and daughter. Now alone, she shakes off her old identity and explores her newfound freedom but finds that she is unbreakably bound to other humans, including her husband’s mistress, whose existence she never suspected.
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What critics compared Three Colors: Blue to
Okuno has referenced Kieslowski’s Three Colors: Blue , Sofia Coppola’s Lost in Translation, and Roman Polanski’s apartment trilogy as tonal and visual inspirations, and they echo the movie’s more obvious allusions to Hitchcock and De Palma.
Cinematographer Slawomir Idziak, for instance, is best known for his work with Krzysztof Kieslowski -- Idziak shot The Double Life of Veronique and Blue , and his work on Gattaca can't help but recall the far more haunting imagery of those much simpler pictures.
The striking future-retro look created by production designer Jan Roelfs ("Orlando") and the shadowy, angular cinematography by Slawomir Idziak ("Blue") are memorable, but neither distract from the story.
Cinematographer Slawomir Idziak (who shot a few Krzysztof Kieslowski films, including Blue) is a sorcerer conjuring with golden browns and muted violets; this is one of the most beautifully photographed movies of the decade.
Its power soundtrack verifies Richard Kelly’s Hughes-ian aesthetic, and his stuttering steadicam shots are lifted from Martin Scorsese—one of the final shots in the film, even, is noticeably similar to the final shot of Krzysztof Kieslowski’s Blue .
Directed by the Tunisian-French auteur Abdellatif Kechiche, and based on a graphic novel called Blue Angel (“Le Bleu est une couleur chaude”), ‘Blue”‘s Cannes award was, in a rare move, presented to both the director and the two lead actresses.
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I meant those words as a kind of high praise: the remarkable Seimetz is as central to the film as women in Krzysztof Kieslowski’s late films, like Irène Jacob in “Three Colors: Red” and “The Double Life of Véronique” or Juliette Binoche in “Three Colors: Blue.”
Writer-director Jeremy Saulnier (Blue Ruin) calls this blood-soaked opus a “horror thriller,” although I can’t imagine why.
Cinematographer Slawomir Idziak ("The Double Life of Veronique," "Blue") captures Scott's vision and production designer Arthur Max' ("Gladiator") rendering of Mogadishu in Morocco with breathtaking images from sweeping devastation to the point of view of an injured soldier beset by a hostile mob.