Kierovsky, director of the Blue,White and Red Trilogy, "is considered to be the last great European film author, and his personal life experience, his creative experience, and his place in the history of world cinema have also become an iconic event in the cultural history of the 20th century." (Dai Jin Mandarin)"
Blue, white and red are the three colors of the French flag, representing freedom, equality, fraternity, it can be said that blue represents freedom, can also represent equality, fraternity, there is no strict boundary, but in "Blue", the meaning of freedom represented by blue is more prominent.
In this film, Kierovsky presents his qualities as a cinematic philosopher. Under what circumstances can we be free? How free can we be? Kierovsky shows through multiple characters: freedom comes at the cost of loss.
Actress Juliet Binoche seems to be born with melancholy, loneliness, stubbornness, and intellectual qualities, and when she laughs, it makes people feel that the sky is brilliant, and when she is silent, she will feel that she has an inviolable coldness.
In this film, because of the plot, Binoche mainly shows her cold face, so when she laughs, it seems unusually beautiful, and when she finally sheds tears, I seem to have finally unloaded the burden.
The heroine Julie, played by Binoche, had a serious car accident at the beginning of the film, in which her husband and daughter died, leaving only her to wake up after a long coma.
She lost her husband and daughter in her life form, but was tied to memories and love for a long time. The film shows how deep a person's sadness can be. Grief can be like a deep well, it can be like darkness where you can't see a little light, and in this film, sadness can also be a ubiquitous swath of blue, a symphony that appears in the brain.
As a survivor of the accident, no one can really understand her grief. Julie hid in a quilt and watched her husband and daughter's funeral online. Swallowing large handfuls of pills in an attempt to end his life. Sink yourself in the pool. Slide your hand over the stone wall. Leave everything behind and flee to a place no one knows.
Losing her husband and daughter in life, Julie fell into the bottom of grief, life showed an unbearable weight, grief was too heavy, her thin body seemed to be unable to bear it, at the same time, life showed an unbearable lightness, when there was nothing, Julie's existence also lost its meaning.
The turnaround occurs around 70 minutes of the film, when Julie learns that her husband has a lover. She had wanted to confirm whether he loved the woman or not? But seeing the woman's sadness, seeing that she already had a child in her belly, seeing the same necklace around her neck. Julie knew she had completely lost her husband. In fact, it was lost many years ago, but she thought she always had it.
The daughter is Julie's eternal entanglement, how does the director deal with this part of the daughter's emotions?
From beginning to end, Julie only mentioned her daughter once. When she heard the news of her daughter's death, she never mentioned it again. At the beginning of the film, outside the car window, a hand holding a blue piece of sugar paper flutters in the air. Let go, and the blue sugar paper flew away. Letting go is freedom. Later, Julie poured everything out of her bag on the bed and found a piece of blue lollipop that she should have bought with her daughter at that time. Julie tore open the sugar paper and chewed the sugar cube roughly and quickly, as if to Julie, it was a shattering action of memory. Crushing is the real discard.
The daughter is the husband's child, and the boy in the judge's belly is also the husband's child. The daughter's life was lost, and the boy was perfectly presented in the B ultrasound. Julie gave the original house to her husband's lover, which also meant giving the original space to the woman.
Kierovsky was cold and intellectual: man could only be free if he lost everything. After Julie has completely lost too far away from her daughter, the mother who has long forgotten her daughter has also passed away in the nursing home, as if everything is prompting Julie to make a final farewell.
There are also several characters in the film. The piper appeared many times, of course, with his significance. To use Freud's "original self" to explain, it seems more accurate. The piper is the other side of Julie. The piper was supposed to be rich, there were cars and women who brought him to the side of the street, sometimes sleeping directly on the ground, he said "people have to have sustenance", he said he created a lot of things. Julie thinks that the music came from her husband's work, and in this regard, it seems to mean that the flute player is another piece of evidence for Julie. Because of the various indications in the back, many of her husband's works are Julie's creations.
At the end of the film, seeing Julie's tears finally flow down, knowing that she has finally gained freedom, her ego has finally been completely liberated, and she can start a new creative new life, and it is really difficult to think that the gain of this freedom is actually at the cost of loss.
That's it, what could be better than freedom?