Three Colours: Red (1994)

Written by Dalton Welsh - August 11, 2020

Although Krzysztof Kieslowski’s three colours series is not strictly your typical trilogy it is often the case that it is difficult to stick the landing in the final stint of a series, Kieslowski however presents a strong argument that it is possible to make the finale the strongest of the trilogy. The story follows part-time model Valentine who meets a retired judge who lives in her neighbourhood when she returns his dog to him, leading to a discovery that he is eavesdropping on his neighbour’s phone calls. The film is ultimately about fraternity and subsequently the shared experience we have as human beings, and questions ideas surrounding the truth of fate and destiny. This time with two excellent lead performances in Irene Jacob as Valentine and Jean‑Louis Trintignant as the judge. We explore such detailed complex relationships and their associated emotional entanglements with expert visual flare, a compelling script and impeccable editing.

From the opening scene of the film as the camera zips along phone lines from one country to another we are immediately alerted to how Kieslowski has honed his expert control of the art of filmmaking and foreshadows our viewing of the trilogies artistic pinnacle. Speaking of the film’s visual spectacle the intoxicating red that surround our protagonist Julie throughout the film works so effectively at portraying her longing for the love of others. Juxtaposed with the stark colour palette of the environment of her judge neighbour showing how overtime he has forgotten how to love another. This combined with long takes to aid in dwelling on the emotion of the scene and some sparing experimental camera motion to heighten the artistic expression makes for some truly impressive cinematography from director of photography Piotr Sobociński.

Then there are the performances of the film, this time there is heavier attention payed to the dialogue and makes for some truly intriguing and beautifully written scenes of back and forth between Valentine and her neighbour. The slowly slipping but still present optimism of Valentine paired with the jaded nihilism of her neighbour makes for a dynamic and engaging on screen pairing as we witness their interdependent growth throughout the film. Both Irene Jacob and Jean-Louis Trintignant embody these roles so perfectly, performing excellently in both the scenes of intricate dialogue and the more quiet scenes, portraying their respective characters core values through their non-verbal displays of emotion, or lack thereof.

As a conclusion it does a superb job of bringing together and dictating the overarching theme of the trilogy of the complex often emotionally driven interactions of human beings. While the previous two films have been clear about what their moral perspectives or opinions are, whether it be the need for healthy closure following intense heartbreak or the toxic nature of clutching for the love of another who doesn’t reciprocate those desires, red is more ambiguous. The film presents you with these situations of human interaction and discussion on destiny, truth and morality displaying multiple perspectives but keeps an objective, unbiased lens. Allowing for the audience to deeply engage with the content on screen and question for themselves how they might react were they placed in similar circumstances, or if they believe we are slaves to our own fate. Making for a film that can be equal parts saddening and uplifting.

Additionally, the effectiveness of the editing can be unequivocally felt here. Not to say the editing wasn’t impressive in the previous films as it certainly was but here it has such a noticeable feeling of flow. The order of the sequences and the length of the shots have clearly had so much care and attention put into them. Making for a film that is impeccably paced and works so organically in conveying the changing and developing temperaments of the characters and the associated central themes.

So, with a compelling lead pairing in Irene Jacob as Valentine and Jean-Louis Trintignant as the judge, whose dynamic relationship is displayed both in their performances and the accompanying beautifully written script effectively embody the film’s central ideas of fraternity and fate. Strengthened through a careful attention to colour, inventive camera work and perfectly paced editing. Drawing in the audience through its ambiguous stance, encouraging deep contemplation and questioning. Ultimately making for a story that works excellently as a stand-alone film but is further heightened by its context within Krzysztof Kieslowski’s expertly constructed three colours trilogy.