Three Colors: Blue


Drama / Music / Mystery / Romance

Rotten Tomatoes Critics - Certified Fresh 98%
Rotten Tomatoes Audience - Upright 93%
IMDb Rating 7.9 10 84663


Uploaded By: FREEMAN
March 05, 2018 at 08:18 AM


Juliette Binoche as Julie Vignon
Julie Delpy as Dominique
720p.BLU 1080p.BLU
807.65 MB
French 2.0
25 fps
1 hr 34 min
P/S 5 / 29
1.51 GB
French 2.0
25 fps
1 hr 34 min
P/S 5 / 59

Movie Reviews

Reviewed by Rebex 10 / 10

Excellently executed, sensitive and moving drama.

This is one of the best movies I have ever seen. Not only for Juliette Binoche's excellent performance, but also for the delicate cinematography, the haunting music and the overall texture of immersion in the world of the young woman. If you are after car chases, exploding jets and gun-toting macho muscle-men, then stop reading now, this is not for you.

I enjoyed the other two films in the trilogy ("Three colours Red" and "Three Colours White"), but "...Blue" is easily the best. Kieslowski's movies are very different from the formulaic action movies that steer you firmly down a plotline, without giving the audience time to absorb any feeling. Without giving anything away, the story centres on the life of a young woman who experiences a great loss, and how everything changes, how she reacts, what happens next and much more. Music plays a central part in the plot and the scene where her finger traces the score as she shapes the symphony for Europe, is unforgettable. As you watch it you are lulled by the music yet also aware of the tension between her lover and her. Simply put, this film is subtle and moving, beautiful to watch, has a haunting musical soundtrack (I bought the CD as well, I have to say) and is never sentimental or cliched, not for a minute. There are little link scenes that join this movie with the other "Three colours..." movies - the storylines are separate but overlap.

If you liked this, see also "Three colours Red" and "The Unbearable lightness of Being". It's best on the big screen.

Reviewed by patita-1 10 / 10

Bleu A Symphony of Grief

The subject(mourn,lost)is so interesting and profound that this film is a real treasure. It is very difficult to write about 'Bleu' because this film has so many intense scenes,with many details.Juliette Binoche's vulnerability is in every scene, every gesture, every moment. She plays an enigmatic woman,'Julie,' we're witness to her terrible loss(her husband who was a famous composer and her daughter died in a car crash)She is the survivor,not only of the accident,but of herself too.The film doesn't show us how her life was before the tragedy,but' Bleu' focuses on her personal journey to healing.

Julie seems stoic,she did not criy hysterically or stay in bed totally depressed,her grief is intimate and touching.In one scene when Julie is near the blue crystal mobile(which belonged to her daughter) just notice her reaction.Another poignant scene is when Julie is in that swimming pool,suddenly,she stops and she can hear her husband's symphony(all in her head).

Bleu also approaches a philosophical question-when you lose everything can you start all over again?,life is a series of events and choices,Julie moves to another place from the country to a city.She did not want to see her friends,she wants to be alone but is this possible?,her past will haunt her.

Another interesting aspect of this film is the use of music instead of dialogue,her silence is a reference of her terrible loss and pain,she is not depressed but sad. Also the meaning of the unfinished symphony of her husband is very profound (is connected with her grief and healing)

The photography of the film and the beautiful and delicate face of Binoche contribute to the impact of BLEU.

Kieslowski was one of the most talented directors, I really admired his 'Trois couleurs' trilogy but I think,'Bleu' was his most powerful film.


Reviewed by nycritic 10 / 10

Liberty as Freefalling Through Life.

For a film about mourning, there are two moments in Krsyztoff Kielslowski's THREE COLORS: BLUE that seem divorced of anything that is happening at first glance. Both are seen through the impersonal medium of a television. The first occurs early in the film: as she recovers from an automobile accident which claimed the life of her husband, composer Patrice de Courcy, and her daughter Anna, Julie is given access to witness their funeral, but as she turns the channel, there is an image of a man bungee jumping. It will be seen again when Julie visits her mother (played by Emmanuelle Riva) who lives in a home, disconnected from the outside, watching television. This image of a person seen in free-fall against a pale blue sky (blue is indeed prominent in this film) seems to mirror Julie quite well: her loss has given her an empty outlook on life. She wishes to do 'nothing', to just exist, divorced from human contact. However, that same cord which is a life-preserver will eventually pull her back.

It's the slow but sure pull of the cord that Kieszlowski wants to tell in this beautiful but tragic story. In Juliette Binoche he has found his muse. With that face that expresses a complex set of emotions and her internalized body language that at times threatens to break through outbursts (as when she plays a piece of the concerto for the unification of Europe her husband was creating and suddenly slams the piano, or when she leaves her house carrying only a box and almost mauls her first against a stone wall). She cannot feel and is trying to make herself do so, but realizes it is better to just be, without ties, love, meaning.

BLUE is filled, almost drenched, in subtle meaning which grows stronger at every frame. Kieslowszki's bungee cord begins to make its presence at every subsequent scene. The box Julie is seen carrying contains a mobile which formed a blue sphere -- her only link to her daughter. The musical score, which in one scene she had ordered destroyed, makes its appearance in none other than the streets of Paris under the sad flute of a deadbeat who says, "We all must hold onto something." People inevitably come into her life -- for what reason we aren't told up front, but there is the feeling of matters left unresolved and new elements which will force Julie to come full circle and finally open herself to herself.

There are three sequences in which Julie immerses herself in water. Water allows herself to go under, to dive into what she has been avoiding for some time now. In one scene, she is seen in a fetal position as if this is a return to her primal state of floating -- free-fall -- and is "safe". However, the next-to-last time she swims she is confronted by her new friend and neighbor Lucille (Charlotte Very) who is an exotic dancer working in the red-light district in Paris (note the implicit link to RED) and then she, and we, hear the noise of little children who all jump into the pool dressed in reds and whites which make her instinctively recoil and maybe cry. After all, this is an oblique reference to Anna and she may not be ready for this kind of information. The memories come back (even when we do not see them) and even correlate to a decision to have a neighbor's cat kill a litter or mice in her apartment because she needs complete aloneness.

But this will not happen: there are still serious matters which she is about to discover and Lucille, the least involved person in Julie's tragedy but whose progressive insinuation into Julie's life, similar to Valentine's reaching out to the old judge in RED, will be the link to facing them.

Music is also an important part of BLUE, and whenever Julie is about to make a decision that will take the story to the next level we hear the haunting Preisner score which permeates the entire movie as its soul. American films don't seem to give music such a prominent position in a film, quite possibly because there is always the element of consumerism that is at the heart of every movie -- even serious films. European films, I've noticed, have a different approach to storytelling. BLUE is a very oblique mystery contained within itself from WHITE and RED, but one that demands listening to as well as subsequent views: it opens and reveals its petals very slowly and contains a surprise at the center of its bud, one that again, American film-makers would not have known how to resolve unless there was some form of catharsis and maybe even violence. Not here: for a movie that gives music and its relation to a truly spellbinding mystery, BLUE and its score are stunning, particularly at its climactic sequence where all of the people Julie has crossed paths with are seen in one last, flowing shot -- Emmanuelle Riva's being the most emotional, seen reflected twice in what can only be a haunting death scene, or is it? -- and returns, full circle, to another reflection of Julie, and Julie herself, open, and weeping in an enigmatic, Mona Lisa smile, free at last.

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