with good intentions..
Kieslowski’s bittersweet love track is probably the most apt description of the ups and downs that a marriage goes through retold in a metaphorical satire. And the exaggeration that is captured in here is equally practical as much as cinematic it is. With essential husky bits and unexpected thrills, this is the most balanced and bold tale walking on a thin wire that is purely provocative with a scoreboard mentality. From a penny to a palace, this tale has multiple tales resided within where the actual overall arc is projected in the backdrop of all this distraction, where Kieslowski discloses his intentions in its last frame and shows you how he has been fiddling with you subconsciously.
And the best part is, you’d want him to play with your feelings in here. Driving such plethora of emotions on one seat, one perspective, similar to its predecessor, this is an ace in the hole. The narration is gripping and busier than the previous one. It has so much to tell within 90 minutes, that it has to play the rules smartly and calculatively, for the makers wouldn’t want the audience to grow hectic. Hence, wisely the cinematography is sensible accordingly and the camera work is stable for the most time. Zamachowski, the protagonist, is being played at, and does play by.
His evolution is tremendously breathtaking. The work and the detail went by, in its first act itself tells you that you are in a ride of your life. And fortunately, he has got a range to be funny and adorable, to be scare and sinister, and with those big eyes he is clearly expressive in his role. Delpy on the other hand doesn’t get much to do, yet she holds on to her part convincingly. Trois Couleurs: White is as pale as it can be and is least diplomatic as it can be, it is a bullet fired from the gun, with good intentions.