A Little Bit of Blue

Here is a general synopsis of Blue:

According to Kieślowski, the subject of the film is liberty, specifically emotional liberty, rather than its social or political meaning. It is set in Paris,
where Julie, wife of the famous composer Patrice de Courcy, must cope
with the death of her husband and daughter in an automobile accident
she herself survives.

Like the other films in the trilogy, Blue makes frequent visual
allusions to its title: numerous scenes are shot with blue filters or
blue lighting, and many objects are blue. Blue light creeps in around
Julie at several points throughout the film, accompanied by the
haunting musical theme around which the film revolves. The film also
includes several references to the colors of the tricolor
that inspired Kieślowski's trilogy: in one scene, children dressed in
white bathing suits with red floaters jump into the blue swimming pool.
Another scene features a link with the next film in the trilogy: Julie
is seen accidentally entering a courtroom where the main Polish
character of White is pleading his innocence.

Awards

  • Venice Film Festival, 1993: Best Film and Juliette Binoche, Best Actress, Best Cinematography: Sławomir Idziak
  • Cesar Award, 1993: Best Actress: Juliette Binoche, Best Sound, Best Film Editing
  • Goya Awards (Spain's Academy Awards): Best European Film

About the director, Krzysztof Kieslowski:

Krzysztof Kieślowski died aged 54 on March 13, 1996, during open-heart surgery following a heart attack, and was interred in Powązki Cemetery
in Warsaw. His grave is located within the prestigious plot 23 and has
a sculpture of the thumb and forefingers of two hands forming an oblong
space—the classic view as if through a movie camera. The small
sculpture is in black marble on a pedestal slightly over a meter tall.
The slab with Kieślowski's name and dates lies below. He was survived
by his wife Maria and daughter Marta.

Years after his death, he remains one of Europe's most influential
directors, his works included in the study of film classes at
universities throughout the world. The 1993 book Kieślowski on Kieślowski
describes his life and work in his own words, based on interviews by
Danusia Stok. He is also the subject of a biographical film, Krzysztof Kieślowski: I'm So-So (1995), directed by Krzysztof Wierzbicki.

He had this to say about his passion and the type of movies he makes:

It comes from a deep-rooted conviction that if there is anything
worthwhile doing for the sake of culture, then it is touching on
subject matters and situations which link people, and not those that
divide people. There are too many things in the world which divide
people, such as religion, politics, history, and nationalism. If
culture is capable of anything, then it is finding that which unites us
all. And there are so many things which unite people. It doesn't matter
who you are or who I am, if your tooth aches or mine, it's still the
same pain. Feelings are what link people together, because the word
`love' has the same meaning for everybody. Or `fear', or `suffering'.
We all fear the same way and the same things. And we all love in the
same way. That's why I tell about these things, because in all other
things I immediately find division.

Kieślowski in Interview Kieslowski's Many Colours by Patrick Abrahamson, Oxford University Student newspaper, June 2, 1995

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  1. OK – so I missed this the first time around: it's about emotional liberty. I was thinking it was about social liberty, but maybe I'm using the term "social" in the wrong context?She wants to shove everything out of her life – especially her past and all of the social connections that go with it: no children, get rid of the lover, keep an emotional distance from anything that reminds her of the past as well as an emotional distance from strangers. I don't see that so much being about emotional liberty as about liberty from social connections. But I also have a very hard time teasing out the emotional from the social in this regard. The two seem to me, intricately connected and almost indistinguishable.Am I misunderstanding what social liberty is?

  2. It all depend on how you set up the terms.My guess is that by social liberty he means the the type of liberty you describe above. Freedom from social connections/obligations/restrictions. Perhaps emotional liberty is something different, what I alluded to in my response to your post.I'm not exactly sure of the distinction either, but that's my best guess. :)I took most of the above post directly from wikipedia.

  3. That makes sense. Julie didn't seem to want freedom from social responsibilities so much as she wanted freedom from the emotional obligations they require. I just looked at the Wikipedia site and the part differentiating emotional liberty from it's social or political aspects has a link next to it that says "citation is needed". It is probably the idea of whoever wrote the entry for Blue rather than something Kieslowski actually said. Although clearly the film is not involved with political issues or how things should be handled at the social level of interaction – they are entirely emotional issues.

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