Full original title: Three Colors: Blue (it's part of a trilogy, completed by the remaining colors of the French flag, Red and White). Blue is certainly the color of the dawn when the heroine's husband, a world-renowned classical composer, is killed in an auto accident. And elsewhere there's a great deal of blue light, a "blue room," a blue glass mobile, a blue swimming pool, a blue sucker, and a blue-out transitional device. The widow, in addition to seeing all this blue, periodically hears amplified bursts of her husband's music. And director Krzysztof Kieslowski, who elicits from Juliette Binoche the same camera-conscious emoting he got from Irene Jacob in The Double Life of Veronique, adds all manner of visual frippery and froufrou. This provides the spectator with more than emotional distance: emotional disaffection, emotional repulsion. There is a nice scene, with very precise sounds and sights, of the heroine getting locked out of her apartment in the middle of the night -- but the mood is soon wrecked when she starts hearing her music and seeing her blue light. And there's an interesting ending that links together the separate characters in their separate locales. Emmanuelle Riva, long-ago star of Hiroshima, Mon Amour, has a small role as the heroine's mother. (1993) — Duncan Shepherd