Trois Couleurs: Bleu, Blanc & Rouge Case Study

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Kieślowski as a technician - Trois Couleurs: Bleu, Blanc & Rouge case study

Kieślowski discusses about a close up shot of a sugar cube that is about to fall into the coffee in the film, Bleu. He further explains the purpose of the shot and its relation to the character’s emotions. It is somewhat a point of view shot of the protagonist. Her focus is all on the sugar cube and coffee, nothing else matters. The sugar cube is her form of escape, shutting everything out from her immediate world, running away from the grief and emotions she is feeling. He goes on to elaborate the process of how the team managed to get a sugar cube to suck up coffee in 5 seconds. The audience will accept this but if it runs on for longer, it is too long and people
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The film was supposed to open with something else but it did not work so they cut it out. It opens with the scene of the luggage on the conveyor belt which later cuts to him walking. He explains that because of this, all three films in the Three Colour trilogy open with similar shots. It was an alternative and yet it worked as another connection between the three films. When asked about whether he put too much trust in the audience for picking up the details in his films, he replies that if he is able to make the moviegoers pick up the emotion and come to the movies then they woul definitely be able to spot the details. He puts forward an example of the suitcase whereby the audience does not know anything about in the opening scene. However, as the movie progresses, the audience knows how the luggage got there and that is picking up the detail, be it through reasoning and intuition (Kieślowski K. , 1995).

In the lesson for Rouge, Kieślowski elaborates more on planting details in the film and allowing the audience to participate by putting the different pieces of details together. He talks about what shots were shot and eliminating based on the necessity of those shots (Kieślowski K. , Krzysztof Kieślowski - Cinema Lesson in Rouge,
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She has the freedom to start life anew with the death of her husband and daughter. Besides being the dominant colour as derieved from the title itself, the amount of blue objects appearing in the frame is also notable. Possessions of Anna were mostly blue- her room, the chandelier and even her candy wrapper. There was a blue folder containing the protagonist’s husbands documents and was taken away from her. The swimming pool where she frequents is also blue-lit. Blue does not only represent the conventional emotions of sadness. Here, blue serves as a representation of the past. Julie cleans up Anna’s blue room after being discharged from the hospital, symbolising her attempt in cutting out this part of her past- her daughter. However, random bursts of blue dominate the screen occasionally when she’s alone and deep in thoughts. It mirrors her emotions. She is trying to stay neutral but the sudden bursts of blue breaks her train of thoughts with memories of the past (Haltof,

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