Krzysztof Kieślowski once said, "The closest thing to the spirit of humanity is love. And perhaps we are all loving because generosity always shows in our gaze..." The film “Red” from the Three Colors Trilogy captures this theme of love. Unlike Blue, which extensively used blue filters, Red does not rely on a dominant color scheme, yet it is infused with red throughout. The characters in Red are entangled in complex and inescapable conflicts, creating a sense of coldness and isolation.
Nevertheless, red is a crucial element of the film, appearing in nearly every scene. Red places greater emphasis on lighting and framing compared to the other films in the trilogy, using color almost as a language to convey deeper meanings. Red taillights symbolize danger; a red cherry on a juicer in a coffee shop represents emotional trauma; a red jacket evokes memories of love. These carefully integrated touches of red throughout the film highlight its central theme: the strikingly vivid "red" of profound love.
Love and Redemption
The Bible teaches us to "love thy neighbor," and Krzysztof Kieślowski continues his exploration of the divine through the theme of love in Red. The film presents a provocative question through an elderly judge: Does true love really exist? When Valentine suggests that helping a lonely mother with her shopping could lift her spirits, the judge mockingly argues that Valentine's actions are merely a way for her to alleviate her own guilt, thus undermining the sincerity of her love. This implies that people's so-called acts of love are fundamentally self-serving.
The film’s depiction of both the old and new generations of judges is deliberate. The old judge uses wiretapping to pass judgment on his neighbors’ unseen sins, yet remains powerless to effect any real change. The old judge, entrenched in his belief, leads a life of emptiness until Valentine’s arrival challenges his perspective. After reflecting on Valentine’s influence, he acknowledges his own failings and stops his surveillance, choosing to report the case instead. Through further interactions with Valentine, he comes to see the light. Valentine’s moral judgment of the old judge, coupled with the young judge Auguste’s legal judgment, underscores that mere judgment is insufficient.
Recall the red patch in the final freeze-frame—the red lifeguard suit. This subtle detail points to the fundamental purpose of red: "redemption." The old judge’s belief that loving others is merely a way to comfort oneself reflects a deeper truth: to love others is to love oneself, and to save others is to save oneself. The intermittent appearance of orange car lights in the film symbolizes compassion. When doubt and darkness creep in, the light fades, but the old judge, rejuvenating hope, tells Valentine, "I've already replaced the batteries.”
Life is challenging, and even the brightest places have their shadows. Yet, we cannot deny life or love simply because it seems out of reach. The film opens with a tracking shot of telephone wires, accompanied by dense dialogue, acknowledging the convenience of phones in our lives. However, the distance between people on opposite ends of a call often leads to misunderstandings and suspicion. Every time Valentine calls her boyfriend, she faces doubts and questions. High technology, instead of bridging gaps, often becomes a medium of alienation, reflecting a modern world where genuine communication is increasingly difficult. Despite experiencing coldness, barrenness, loss, and despair in love—which can lead to sin—redemption through love remains possible. As long as we strive to be honest and tolerant, as long as we hold love and hope in our hearts, we can overcome these challenges.
Destiny and Reincarnation
The narrative of Red is woven from a series of coincidences: a fallen book fortuitously opens to the exam questions, a malfunctioning radio leads to hitting a judge’s dog, missing a girlfriend’s call due to a cigarette purchase. The recurring gambling machine suggests that these might simply be random occurrences. Yet, when Valentine says, “I know why I win,” it prompts us to question whether these are merely coincidences or something more. The film, deeply imbued with a sense of fatalism, invites reflection on whether these events are part of a larger, predestined plan. Valentine reflects on how stepping out during a break led to meeting her boyfriend, highlighting how seemingly minor details can dramatically alter our lives. But what if these were not just coincidences? What if they were all meant to be? The book’s fall, the radio’s malfunction, and the fates of the old judge and Auguste might all be part of a predetermined design. This sense of destiny culminates in a striking moment when Valentine, rescued from a shipwreck, appears with a shocked expression against a red backdrop that echoes her advertisement poster, suggesting an uncanny preordainment.
The old judge reveals his disillusionment with life, believing even God makes mistakes, leading to missed opportunities like thirty years with Valentine. In contrast, Valentine argues that human nature isn’t inherently evil but inherently weak, and that there are things worth holding onto. Their connection prompts the audience to reflect on life and human nature. Despite the storms and losses, there are also rescues. At the film’s end, Valentine and Auguste walk together, leaning on each other, breaking free from their repetitive cycle. Does this signify a correction of fate’s errors, allowing them to finally be together? Ultimately, the film does not offer definitive answers but leaves viewers with a sense of hope. Even the old judge’s once dormant heart awaits a glimmer of hopeful light—a brief but beautiful moment. Perhaps "love" itself can be reborn.
Aesthetics of Life
Krzysztof Kieślowski once said, "Everything is predestined; all we can do is seize the day." In the poignant moment when Valentine and the old judge touch hands through the car window, the barriers of time and space dissolve, and their souls connect. In Blue, an elderly woman struggling to reach a recycling bin is overlooked; in White, the male lead sees her but can only offer sympathy. However, in Red, Valentine sees her and immediately steps in to help. After depicting life's fragmentation and contradictions in his earlier films, Kieślowski concludes with a powerful affirmation of love and hope. The essence of love lies in treating others as you would yourself. While we may often feel powerless, love allows us to make meaningful changes, helping others and, in turn, ourselves. This, perhaps, is the true beauty of life.
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