I think in general my tolerance for super-depressing films is less than some film connoisseurs. I have found that some films (such as some of Bergman's) are too depressing to merit the high praise they receive. It's almost like to be considered a sophisticated, you have to love depressing and occasionally pointless films. I began to feel this way towards this film early on--thinking to myself "oh, no,...another dreadfully depressing art film". However, I was VERY pleased when despite the incredibly somber pacing, music and plot, the movie did not remained mired in misery and showed growth and change--and NOT in an overly idealistic or Hollywood way, either. Instead, the depression and existence of the lead, Binoche, seemed very real and I think this is the best of her films I have seen. In fact, I was a bit hesitant to watch the movie, as I was NOT a fan of two of her most famous films, The English Patient and The Unbearable Lightness of Being. These two films were also quite depressing and cold, but the movie Blue seemed to engage me more--perhaps because I could easily see myself or someone I love in Binoche's position following the deaths of her family.

At first, she decides the best way to cope is complete denial and repression--forget about the past by extinguishing all memories--including selling all her possessions and running from her past life. However, despite her best efforts, she finds herself unable to completely keep out the past and is forced to deal with her husband's legacy (though the movie makes a mistake not to really address the death of Binoche's child very well).

For psychology students, this movie is an excellent example of defense mechanisms (Freud) or the grieving process (Elizabeth Kübler-Ross).

Instead of saying which is the best and worst (though have often heard 'Red' cited best and 'White' the weakest, though all three films are generally very highly thought of) of Krzysztof Kieslowski's "Three Colours" trilogy, it will just be said that all three films in the trilogy are must-watches in their own way.

The first film in the trilogy 'Three Colours: Blue' serves as a very poignant exploration of grief and liberty (in the emotional sense),and to me it is one of the most moving and interesting depictions of grief and liberty in film. It is heavily symbolic, with its intricate use of music, the dominant use of the colour blue in the colour palette, its interesting use of fade outs (though actually different to their usual use, representative of time standing still rather than it passing or a scene conclusion),links to the main character's past (here the use of falling) and the bottle recycling, but not in an incoherent sense.

Visually, 'Three Colours: Blue' looks stunning. The whole film is shot with aesthetic grace and elegance and while the use of blue is dominant for symbolic reasons it is never gimmicky or cheap. Kieslowski's direction is thoughtful and never intrusive, and the intricate music score and the symbolic way it's utilised (representing Julie's struggles with isolation) is inspired, "Song for the Unification of Europe" is one of the most emotional tracks of music in any film seen by me recently.

Story-wise, 'Three Colours: Blue' challenges in a way but also always engages, mainly because of how movingly and intensely it deals with the tragic story of Julie and its themes of grief and liberty. The pacing is deliberate but never hits a dull spot.

One of 'Three Colours: Blue' is the astonishing performance from Juliette Binoche, an intensely affecting portrayal that ranks high up with her best performances. All the cast are fine, particularly Benoît Régent and Emmanuelle Riva, but in the acting stakes this is Binoche's film.

All in all, a beautiful, thought-provoking and moving film, and a wonderful start for a very interesting trilogy of films. 10/10 Bethany Cox

This is the first of Krzysztof Kieślowski's colors trilogy. Blue is Liberty. Julie de Courcy (Juliette Binoche) survives a car crash which killed her husband Patrice and her daughter. Patrice is a famous composer who was commissioned to produce a piece for European unity. Julie tries to commit suicide and then escape from the glare of her former life. She befriends exotic dancer Lucille. An old friend Olivier is also a composer and suspects the composition is actually Julie's. Patrice had a mistress. Julie has to break out of her darkness. Kieślowski uses everything including color, silence, music and most importantly Binoche infusing this with meaning. This is very much an art-house film and may not be for everyone. The quietness does lower the intensity. It's slow and meticulous. There isn't much of a plot. It's all about Julie's darkness and the reveal that can break through.