Three Colors Trilogy: How would you respond to an elderly person struggling to recycle a bottle?

In “Three Colors: White,” the final film in the trilogy, director Krzysztof Kieślowski weaves intentional connections throughout the series. For instance, in “Three Colors: Blue,” Julie accidentally enters a courtroom where Karol's divorce case is being heard. This scene recurs in both films, and by the end of Three Colors: Red, all the survivors of a shipwreck are the main characters. These intertwined moments illustrate how our lives, though separate, are connected within the same larger context.

The trilogy’s colors—red, white, and blue—reflect the French flag and represent the themes Kieślowski aimed to convey: red for fraternity, blue for liberty, and white for equality. We often comfort ourselves with the belief that "God is always fair," but is every human life truly equal? Some are born gifted and privileged, while others face hardship and deprivation from birth. While we say that "life has its ups and downs," and that a strong will can overcome difficulties, the reality is that sometimes we must simply accept our circumstances. Life becomes a series of compromises with fate. The struggle to simply survive is a fundamental part of existence.

In “Three Colors: White,” Karol, a down-and-out barber, faces a series of humiliations: his bank card is cancelled, he’s abandoned by his wife, and even gets hit by bird droppings. Despite these setbacks, he clings to a single 2 franc coin, a symbol of his dignity and manhood. This coin, once nearly discarded, becomes a token of his perseverance. By the end, Karol places it in a coffin he pretends is his own, burying it along with his past.

Karol's fortunes change dramatically when he overhears a confidential land sale and becomes wealthy overnight. As a successful businessman, he contrasts sharply with his previous self, now boasting a sleek hairstyle, stylish suits, and luxury cars. The director contrasts Karol’s new success with his past, emphasizing the change in his status. He shifts from a penniless street performer to a man who boasts, "Look, Warsaw is beneath our feet." Despite his newfound wealth, Karol's ultimate goal is to reclaim his dignity and win back his ex-wife Dominique's love.

Karol’s love for Dominique drives his actions, and after he orchestrates a plan to satisfy her desires, he disappears. Although he achieves his revenge, the film questions whether money and status truly bring inner peace. When Karol purchases a corpse, the driver remarks, "In these times, money can do anything." Karol’s skeptical response reflects the tension between material success and spiritual fulfillment. The film uses religious symbolism to explore this theme. Karol’s reflection in a mirror overlaps with the Virgin Mary, highlighting a metaphorical connection between humanistic care and theological doctrine.

Churches and courtrooms feature prominently across the trilogy. In “Three Colors: Red,” Valentine’s dog leads her to a church, symbolizing her quest for answers and her confusion between the old and new generations of judges. In “Three Colors: Blue,” Julie’s husband gives her a cross symbolizing love and an unborn child. In White, the church represents the ideal of a white wedding and the courtroom symbolizes judgment and truth. The church signifies morality and humanity, while the courtroom represents standards and judgment.

Amid these complex and ambiguous themes, a recurring scene in the trilogy features an elderly person struggling to recycle a bottle. The protagonists' reactions differ significantly: Valentine in “Red” helps the old lady; Julie in “Blue” ignores her; and Karol in “White” dismisses her with a cruel laugh. This scene prompts reflection on how we respond to the vulnerable. How would you address such a situation?