Check box if your review contains spoilers, Krzysztof Kieslowski closes his Three Colors trilogy in grand fashion, with an incandescent meditation on fate and chance, starring Irène Jacob as a sweet-souled yet somber runway model in Geneva whose life dramatically intersects with that of a bitter retired judge, played by Jean-Louis Trintignant. In the novel, The Great Gatsby, by F. Scott Fitzgerald, color symbolism is used extensively throughout the plot to represent issues and feelings of the characters. Kieslowski himself once pointed out, “we risk causing harm to the people we film. This film also depicts topics of the Philosophy of Law and the manner in which man acts in society, the relationship between the law, ethics and socially acceptable behavior and how not all of them coincide, particularly in the reflections by Judge Kern and some symbols related to Auguste. He has written and directed scores of films, television series and documentaries. Though only 15 minutes long, it managed to become the perfect allegory for the country's problems, and most of the director's best work has the same stunning precision. The electronic code rushes along the flex to the wall and falls into the great system of optical fibres. Subscribe to Senses of Cinema to receive news of our latest cinema journal.Enter your email address below: Rouge/Red/Trois couleurs: rouge/Three Colours: Red (1994 Poland/France/Switzerland 99 mins), Prod Co: CAB Productions/Canal+/France 3 Cinéma/MK2 Productions/Télévision Suisse-Romande/Zespol Filmowy “Tor” Prod: Marin Karmitz Dir: Krzysztof Kieslowski Scr: Krzysztof Kieslowski, Krzysztof Piesiewicz Phot: Piotr Sobocinski Ed: Jacques Witta Prod Des: Claude Lenoir Mus: Zbigniew Preisner, Cast: Irène Jacob, Jean-Louis Trintignant, Frédérique Feder, Jean-Pierre Lorit, Samuel Lebihan, Marion Stalens. From the opening scenes until the very end where all the seemingly loose elements converge, the colour red pops up like an eyesore, and this imagery even extends to the characters themselves: Valentine (Irene Jacob), Auguste Bruner (Jean Pierre Lorit), and Joseph Kern, a retiRED judge (Jean-Louis Trintigant). Here is certainly a film that allows very little space for the play of free-will, while also hinting that destiny is a game player too. This altarpiece is the focal point of the City Church in Wittenberg, on it we can appreciate the importance of how worship was sensed during those days. Auguste and Valentine are looking into each other's eyes, inviting the viewer to believe this is the man from Kern's dream, with whom she will find happiness. The production is captivating and the parallel themes work together well to make it an attention holding view. When the movie opens up Michel makes a phone call to Valentine. By co-incidence, Auguste's first case as a judge is Kern's trial. They discuss the nature of altruism and Valentine asks if he has ever loved or been loved. This theme is best summarized by the opening sequence, which makes the technology of the telephone transparent to the viewer. Exploring biblical ideas in Red the questions of the judge being a ‘God’ figure is probably the one that has been explored most often. Bad luck? Irene Jacob brings a warm wide-eyed innocence to her role as Valentine, a student and part-time model. Telephones allow the characters to interact with one another without any emotional involvement. Another question raised by the character of the retired judge: is Joseph Kern God?

Red is an intimate look at forged connections and a splendid final statement from a remarkable filmmaker at the height of his powers. She returns the extra amount to Kern after meeting the vet's expenses.

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Red, the beautifully spun and splendidly acted tale of a young model’s decisive encounter with a retired judge, is another deft, deeply affecting variation on Krzysztof Kieslowski’s recurring theme that people are interconnected in ways they can barely fathom. His answer betrays echoes of Auguste's recent life, including the infidelity and the dropped textbook. The film concerns a young student-cum-model (Irene Jacob) who, having knocked over a dog in her car, takes it back to its owner. It is a climax, however, that makes absolute emotional sense in the light of Kieslowski’s obsessions with chance, luck and destiny. He is also a major contributor to Ian Aitken’s The Encyclopaedia of Documentary Film, including the essay on Australian documentary cinema. Through the window, he sees her having sex with another man and leaves, distraught. On a deeper level, it is a film about the invisible connections that intertwine our lives, the nexi that are not always apparent, similar to Kieslowski's earlier film "The Double Life of Veronique". Perhaps. Above the little Chez Joseph café-bar a phone rings again and again. She is happy about this as she is about to sail there herself soon (with her new boyfriend who owns a yacht). Finally, Valentine boards the ferry to England.

Check box if your review contains spoilers, Krzysztof Kieslowski closes his Three Colors trilogy in grand fashion, with an incandescent meditation on fate and chance, starring Irène Jacob as a sweet-souled yet somber runway model in Geneva whose life dramatically intersects with that of a bitter retired judge, played by Jean-Louis Trintignant. In the novel, The Great Gatsby, by F. Scott Fitzgerald, color symbolism is used extensively throughout the plot to represent issues and feelings of the characters. Kieslowski himself once pointed out, “we risk causing harm to the people we film. This film also depicts topics of the Philosophy of Law and the manner in which man acts in society, the relationship between the law, ethics and socially acceptable behavior and how not all of them coincide, particularly in the reflections by Judge Kern and some symbols related to Auguste. He has written and directed scores of films, television series and documentaries. Though only 15 minutes long, it managed to become the perfect allegory for the country's problems, and most of the director's best work has the same stunning precision. The electronic code rushes along the flex to the wall and falls into the great system of optical fibres. Subscribe to Senses of Cinema to receive news of our latest cinema journal.Enter your email address below: Rouge/Red/Trois couleurs: rouge/Three Colours: Red (1994 Poland/France/Switzerland 99 mins), Prod Co: CAB Productions/Canal+/France 3 Cinéma/MK2 Productions/Télévision Suisse-Romande/Zespol Filmowy “Tor” Prod: Marin Karmitz Dir: Krzysztof Kieslowski Scr: Krzysztof Kieslowski, Krzysztof Piesiewicz Phot: Piotr Sobocinski Ed: Jacques Witta Prod Des: Claude Lenoir Mus: Zbigniew Preisner, Cast: Irène Jacob, Jean-Louis Trintignant, Frédérique Feder, Jean-Pierre Lorit, Samuel Lebihan, Marion Stalens. From the opening scenes until the very end where all the seemingly loose elements converge, the colour red pops up like an eyesore, and this imagery even extends to the characters themselves: Valentine (Irene Jacob), Auguste Bruner (Jean Pierre Lorit), and Joseph Kern, a retiRED judge (Jean-Louis Trintigant). Here is certainly a film that allows very little space for the play of free-will, while also hinting that destiny is a game player too. This altarpiece is the focal point of the City Church in Wittenberg, on it we can appreciate the importance of how worship was sensed during those days. Auguste and Valentine are looking into each other's eyes, inviting the viewer to believe this is the man from Kern's dream, with whom she will find happiness. The production is captivating and the parallel themes work together well to make it an attention holding view. When the movie opens up Michel makes a phone call to Valentine. By co-incidence, Auguste's first case as a judge is Kern's trial. They discuss the nature of altruism and Valentine asks if he has ever loved or been loved. This theme is best summarized by the opening sequence, which makes the technology of the telephone transparent to the viewer. Exploring biblical ideas in Red the questions of the judge being a ‘God’ figure is probably the one that has been explored most often. Bad luck? Irene Jacob brings a warm wide-eyed innocence to her role as Valentine, a student and part-time model. Telephones allow the characters to interact with one another without any emotional involvement. Another question raised by the character of the retired judge: is Joseph Kern God?

Red is an intimate look at forged connections and a splendid final statement from a remarkable filmmaker at the height of his powers. She returns the extra amount to Kern after meeting the vet's expenses.

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