Here is the Prince Charles Cinema introduction for this 35mm presentation:
THREE COLOURS BLUE: Julie (Juliette Binoche) is haunted by her grief after living through a tragic auto wreck that claimed the life of her composer husband and young daughter. Her initial reaction is to withdraw from her relationships, lock herself in her apartment and suppress her pain. But avoiding human interactions on the bustling streets of Paris proves impossible, and she eventually meets up with Olivier (Benoît Régent), an old friend who harbors a secret love for her, and who could draw her back to reality.
THREE COLOURS WHITE: Polish immigrant Karol Karol (Zbigniew Zamachowski) finds himself out of a marriage, a job and a country when his French wife, Dominique (Julie Delpy), divorces him after six months due to his impotence. Forced to leave the France after losing the business they jointly owned, Karol enlists fellow Polish expatriate Mikolah (Janusz Gajos) to smuggle him back to their homeland. After successfully returning, Karol begins to build his new life, while never forgetting his old one.
THREE COLOURS RED: Part-time model Valentine (Irène Jacob) meets a retired judge (Jean-Louis Trintignant) who lives in her neighborhood after she runs over his dog. At first the judge gifts Valentine with the dog, but her possessive boyfriend won't allow her to keep it. When she returns with the dog to the judge's house, she discovers him listening in on his neighbors' phone conversations. At first Valentine is outraged, but her debates with the judge over his behavior soon leads them to form a strange bond.
Chicago Readerr review of Three Colours Red:
The third and best feature (1994, 99 min.) of Krzysztof Kieslowski's highly ambitious “Three Colors” trilogy concentrates on the theme of fraternity (Blue tackled liberty, White equality). The principal characters are a young student and model (Irene Jacob) and a cynical retired judge (Jean-Louis Trintignant) whose paths cross by chance in Geneva, and in a way their meeting comes to stand for a good many of the other accidental incidents threaded through this densely textured movie, including one that ties up many of the loose ends of the two previous films. The telephone and (to a lesser degree) the TV set both play substantial roles in linking these and other lives, but they are far from the only linchpins in Kieslowski's poetic universe; among others are the color red and the filmmaker's own sardonic identification with the mordant former judge, who eavesdrops on the phone conversations of his neighbors and seems to hate them and himself in about equal measure.
Jonathan Rosenbaum
Here (and above) is the trailer for the Trilogy.
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