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Blue, on second thought

Abstract Built around the three colors of the flag of the country from which its financing came, France, and linking these colors to that country’s political ideals of liberty, equality, and fraternity which are espoused by so many democratic states, Krzysztof Kieslowski’s Three Colors trilogy (1993-4) invokes these sociopolitical concepts, but at a personal level. Three Colors: Blue (1993) features a protagonist, Julie (Juliette Binoche), a bereaved mother and wife, who tries to liberate herself from all of life’s suffering, ironically by isolating herself in a ‘blue’ state of mourning indefinitely. The color blue takes on a metadiegetic presence in the film, as the haunting spirit of Julie’s dead daughter, Anna, but Julie’s communing with this nebulous spirit in its variety of incarnations and forms connects her both with the animating music of her deceased composer husband and with Lucille (Charlotte Very), a sex worker. Together, they will eventually lead Julie back to the realm of the living. As with Kieslowski’s Decalogue series which invoke the Ten Commandments only to challenge their dogmatic and narrow interpretation, Three Colors: Blue and the other films of the trilogy toy with their structuralist pretexts – concepts linked to colors – precisely in order to undermine all schematic, inhuman, and deathly restrictiveness. Blue may be the color of mourning and despair, of day edging into the black of night, but we are reminded that it is also the color of joy and desire, the blue that infuses the rapturous dawning of a new day.