The master of poetic cinema, Krzysztof Kieslowski continues to inspire us with his epic trilogy, Blue, Red and White and La double vie de Veronique. His epic trilogy, The Three Colors: Red, White, and Blue continue to influence the color palette of contemporary directors. The films were based on the French Revolutionary ideals of equality, fraternity, and liberty. One would expect to see a political message behind them all but the films are heavily concerned with emotional liberty. What excites us more than anything else are the symbols within his films, especially the aesthetic choice of color in each.
Crushed with the loss of her husband and child, Julie (Juliette Binoche) disconnects herself from the world that surrounds her. An Olympic pool washed with the color blue, a crystal blue pendant lamp, streets filled with bluest lights, and many, many more games played with the art of lighting.
Similar yet sharper aesthetic choices are made in Red, perhaps more because of the color’s usual connotation. In Blue, we saw the usage of water and the skies, supported with a blue filter on the lights. White, as its name suggests, was whitewashed. He used the color green and yellow for his unforgettable La Double vie de Veronique.