However, when asked in donne puttane an interview whether the trilogy's structure was not simply a pretext, in the same way that the Ten Commandments provided an overall grid for his Dekalog, Kieslowski replied: "Yes, exclusively that." There may be a degree of provocation to this reply.
Rouge marquera la fin de la carrière et le dernier film tourné par Krzysztof Kieślowski.Cast: Juliette Binoche julie Benoit Régent olivier Florence Pernel (.Certain recurring themes suggest themselves more immediately than others in the trilogy.Plus généralement, elle est considérée comme une œuvre majeure du cinéma moderne.Positif (Paris September 1994.Amiel, Vincent, Kieslowski, Paris, 1995.The same word appears in the English subtitles as she speaks.Tourner est pour moi un stress trop disproportionné par rapport à la satisfaction que cela procure."Something important is happening around me says Valentine, and we too are inclined to believe that something important is happening before our eyes.On peut peut-être y voir l'évolution du personnage principal à travers la trilogie, et ainsi un message encourageant puisque c'est la fraternité et l'entraide qui l'emportent sur l'indifférence et la moquerie.Dix Commandements dans, le Décalogue, Kieślowski illustre ces valeurs avec ambiguïté et ironie.More obscurely, Red 's story of fraternity concerns a young woman's chance encounter with an embittered judge; in an inversion of Blue, she restores him to society, from which he had distanced himself by adopting the god-like position of a cynical, omniscient observer.Kieslowski always allows us to know something that the characters don't, thereby giving us at least the illusion of privileged distance.Depending on our willingness, or otherwise, to see through such artifice, we can read the films' structure of coincidence either as a providential order in which everythingthat is to say, nothingis accidental, or as bare-faced string-pulling by a cavalier author.Insdorf, Annette, Double Lives, Second Chances: The Cinema of Krzysztof Kieslowski, New York, 1999.( White, indeed, could be seen as a sort of picaresque allegory of a Polish film-maker's attempt to find the right country in which to make good.) And the portentous fanfare for a unified Europe, written by Julie and her husband in Blue, invokes the.Lors de l'émission " Bouillon de Culture " en 1994, interrogé par Bernard Pivot, il déclare: "J'arrête, j'en ai assez du cinéma.Articles: Nesselson,., Variety (New York 20 September 1993.Yet there is no a priori reason to assume that these meanings are more important than any other ones, and nothing precludes us finding other tripartite structures: the films could, for example, be seen as essays on the three senses that dominate each film: sight.Books: Campan, Véronique, Dix brèves histoires d'image: le Décalogue de Krzysztof Kieslowski, Paris, 1993.Other unifying threads suggest that it is futile to look for coherence of a realist variety, and that the trilogy's narrative unity is purely an effect of imagery.