Trois couleurs: Blanc 1994
After Three Colors Blue, the second film of the trilogy, Three Colors White, focuses on the theme of social equality, one of the ideals of the French Revolution. In contrast to the melancholic and introverted characters of Blue and White, the protagonist of Polish cinema, Karol Karol, stands out with his outgoing personality, his struggle with life, his pains, and his desire for revenge. At the beginning of the film, right after the scene where the traveler waits for his suitcase at the airport, Karol is seen in the courtroom as his unloving wife has filed for divorce. Karol has not only lost his wife but also the beauty salon he shared with her and is now penniless. Now in the position of a beggar, Karol meets Mikołaj, another Polish man who plays music to earn money in the Paris metro. Karol fights like a loser and Mikołaj is successful but is married to a wealthy man contemplating suicide. With Mikołaj’s help, Karol returns to Poland and finds a job. Mikołaj later meets Karol in the Warsaw metro and asks him to commit suicide. Karol does not kill him, they even start a business together. The film has political implications that depict Carole’s despair and financial situation in France. Kieślowski, while initially welcoming the collapse of the socialist government in his homeland of Poland, did not approve of the position people found themselves in the capitalist system’s free market economy, as seen from the emerging picture, and this film touches on that theme. In addition to all this; the director also emphasizes the importance of power in this part of the trilogy; Those who have power have their own desires. We see that Karol, who is initially a strange man, has control over everything, including his former wife, after becoming rich. However, Karol eventually leaves as if he wants to take revenge on his former wife for her cruel behavior.
