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This is the perfect situation for a Kempenaar cheat where multiple films get lumped into one package of film criticism convenience. I mean, have you ever met someone who loved Red, White or Blue who also had never seen the other two? This person does not exist.
If I have to pick, I pick Red because...well because you made me.
Blue is the film that made me want to be a "serious" filmmaker. It is a piece of art that is so subtle yet intrinsically cinematic. Red is amazing. The whole trilogy. Hell, I'd go so far as to say everything Kieslowsky has done is near perfection but Blue is the one that reaches down my depraved nihilistic throat and convinces me I have a soul.
In his Great Movies essay on the Three Colors trilogy, Roger Ebert referred to "Red" as "the best film among equals," and I think he's right. "Red" always feels a bit tighter to me, and it has an air of suspense that isn't found anywhere else in the trilogy. But seriously, I'd be fine if the whole Three Colors trilogy was considered one entry. Yes, they work as freestanding films, but they were envisioned as a trilogy, so I'd vote for keeping them that way. Regardless, these are amazing films from one of the all-time greats. How do you compare one example of perfection to another?
I love all the Colors Trilogy, and Blue is the greatest achievement of that collection of films. Hypnotic, poetic, the epitome of "show don't tell". This reflection on grief is powerful and impactful.
Red over Blue because Irene Jacob is transcendentally beautiful in this film and the nuanced relationship with the judge is satisfying. I remember at the time a critic suggesting that she is too beautiful (and short) to be a model and that's probably true, but she is so radiant that you can't take your eyes from her.
Here I am. The lone voter who owns all three of Kieslowski's "Colors" trilogy, but loves "White" the most. The Chaplinesque Polish underdog stricken with white bird poop, divorce, the French legal system, poverty, and Erectile Dysfunction while mounted by his wife Julie Delpy all in the same first half of a movie is an irresistible Everyman for a pre-Putin Europe. And to watch him gradually claw his way back from one coin to become an Eastern-bloc oligarch like exactly the kinda single-minded thug who hacked our election is even more poignant now than then: he did it to get the pretty white girl Julie Delpy. Like most people, I would watch Juliette Binoche or Irene Jacob clean their cat boxes or butter toast and call the film experience successful, but in these three masterpieces, the white cut is the deepest for me.
The only context in which I feel it's okay to say "White rules!"
Gotta say Blue holds up better (Red comes across as a bit too on the nose with the trilogy’s themes). That said, White is my favorite, so ...
You mean Double Life of Veronique? Honestly, they're all so great, I'm happy with any of them. Beautiful, soulful films with terrific music and performances.