TROIS COULEURS: ROUGE (Three Colors: Red, 1994) *** Krzysztof Kieslowski is more apparently using red as a metaphor for the tribulation that must be overcome than "fraternity." Surely he doesn't mean that fraternity is a tribulation, but I wouldn't put it past him to trust the audience to achieve the position that the tribulations (forgiveness, redemption) precluding fraternity must be overcome. Jean-Louis Trintignant is inversely respectable as the judge who's seen so much that he transcends his societal role into some form of existential arbiter who judges not. Iréne Jacob is as compelling as the young dancer who is willing to put pre-existing mores to the side, and internalize as she senses something at the periphery. The entire work is inhabited by a ubiquitious sense of mysticism, synchronism, and kismet. Kieslowski serves up a veritable seance of human interactions so intricate as to preclude sensible explanation (though I'm sure that grad students are already trying, and always will do), a sensory overload of situational sensibilities that must ultimately be felt to whatever extent they can before they all pass one by for failure to assimilate any through rational analysis.
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