Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Commentary (films not included). Pages: 24. Chapters: Three Colors: Blue, Three Colors: White, Three Colors: Red, The Decalogue, Blind Chance, The Double Life of Veronique, A Short Film About Killing, Camera Buff, Decalogue I, Decalogue II, Decalogue VII, The Three Colors Trilogy, Decalogue X, Decalogue IV, Decalogue IX, Decalogue VIII, Decalogue III, A Short Film About Love, No End, Krotki dzie pracy, Concert of Requests, From a Night Porter's Point of View, The Office, The Scar, Tramway. Excerpt: Three Colors: Red (French: , Polish: ) is a 1994 film co-written, produced, and directed by Polish filmmaker Krzysztof Kie lowski. It is the final film of The Three Colors Trilogy, which examines the French Revolutionary ideals; it is preceded by Blue and White. Kie lowski had announced that this would be his final film, which proved true with the director's sudden death in 1996. Red is about fraternity, which it examines by showing characters whose lives gradually become closely interconnected, with bonds forming between two characters who appear to have little in common. The film begins with clips that track a telephone call between London and Geneva, where a university student and part-time model, Valentine Dusot (Irene Jacob), is talking to her emotionally infantile but possessive boyfriend. During her work as a model she poses for a chewing-gum campaign, during the photo shoot the photographer asks her to look very sad. While walking back home Auguste, a neighbour of Valentine's, drops a set of books and he notices that a particular chapter of the Criminal Code was open at random and he concentrates on that passage. While driving back to her apartment Valentine is distracted by adjusting the radio which is emitting a strange signal, accidentally runs over a dog. She tracks down the owner, a reclusive retired judge, Joseph Kern...

キェシロフスキの作品群は、映像という言語で綴られた深淵な形而上学文学です。本書が紐解く「三色の連作」の本質は、運命の糸や偶然が必然へと変わる瞬間の美学にあります。孤独な魂が交錯する瞬間の崇高さを描き出す彼の視線は、観る者の倫理観を静かに揺さぶり、生の実感へと誘う圧倒的な強度を秘めています。 映像が色彩と静寂の体験を与える一方で、本書はそれらの詩的断片を論理的な知性で繋ぎ止めます。解説と映像の情緒が共鳴し合うとき、私たちは彼が遺した「魂の設計図」の全貌を目撃できるのです。この相互作用こそが、彼の遺産を単なる映画から、人生を導く哲学へと昇華させるのです。