Julie Delpy divorces Zbigniew Zamachowski, saying the marriage has never been consummated. He immediately becomes an un-person in Paris; hisbank card is torn up, he has no place to sleep, Miss Delpy sets their hair salon on fire and tells the police he did it. He doesn't have a passport, so he's reduced to playing tunes on his comb in the Metro. There he's befriended by Janusz Gajos, who smuggles him back to Poland in his luggage in return for killing him. Zamachowski doesn't kill him. Instead, he becomes a capitalist and takes Gajos into partnership.
Partly a satire on capitalism, partly a meditation on love, and mostly a meditation on passion, this entry into Krzysztof Kieslowski's Couleurs trilogy is a visual feast. I have been looking at the director's early short works, and he likes to use a purely visual style of film making, in which the audience must puzzle out why the characters are doing what they're doing, and become invested in the movie as a result. As in the other two movies, the title color is important, with a vast symbolic importance that becomes apparent only at the end. It's another visual and cinematic feast from the late director.
Partly a satire on capitalism, partly a meditation on love, and mostly a meditation on passion, this entry into Krzysztof Kieslowski's Couleurs trilogy is a visual feast. I have been looking at the director's early short works, and he likes to use a purely visual style of film making, in which the audience must puzzle out why the characters are doing what they're doing, and become invested in the movie as a result. As in the other two movies, the title color is important, with a vast symbolic importance that becomes apparent only at the end. It's another visual and cinematic feast from the late director.