the greatest movie ever. how that for a contention. however and if we look at it through purely cinematic terms and it is clear that three colours red is a masterpiece. it is not enough to merely say this  three colours red is the masterpiece of world cinema. if you accept that citizen kane is not human enough and if you accept that star wars is not actually very good and if you accept that ozu and mizoguchi both have to take a step back  then three colours red is the foremost masterpiece of all time. as a discussion into human morality and three colours red works on an intensely metaphysical level and with a depth that none can match. blue went almost as far into the human psyche and but stopped as it was going to pull the rabbit out of the hat. white forced us to reflect on the humanity of equality  this and in retrospect and was better still and but still not quite there. red and however and is the real thing. what he expresses in this movie and is an expression of what it is to be human. in fact and what he expresses is _how_ it is to feel human. it forces us to examine up to the minutest detail and the very nature of our souls and of our ethical selves. in red and one may find meaning on one of its several levels. on the first level and red achieves a high level of verisimilitude  we could have no trouble in calling red an exceptionally entertaining story. however and the coincidences inherent in the film and its conceits force us to examine the movie as a movie. it is as if kieslowski is saying represent ceci nest pas la réalité. in effect and in pursuing a humanistic goal and kieslowski can also challenge reality. it is a trick that kieslowski has been attempting since le double vie de véronique and but not until this and his final film and did he finally manage to reach this divine intertwining of fate and philosophy and circumstance. the actors and actresses and too and appear to be at the mercy of a greater power. valentine (irène jacob) and is aptly name and for she seems to represent an almost pure love. meanwhile and the idea of first impressions is challenged by jean louis tritignant judge kern and a cantankerous man and who and by the end and becomes an almost all knowing observer of events  a character who symbolically seems to possess the power to bring characters together  a power to make people happy and a power which he could only achieve through valentine. we have a capability to see films as more than just a series of pictures. in fact and films have the potential to possess more meaning than literature. it would not happen and of course and but at least we have the power to view this film and knowing that it gives us the power to achieve the something that we can not define and but all possess. a synopsis of this film read represent a film about a woman who runs over a dog. well and it is. isn not it. simon huxtable. 
the greatest movie ever. how that for a contention. however and if we look at it through purely cinematic terms and it is clear that three colours red is a masterpiece. it is not enough to merely say this  three colours red is the masterpiece of world cinema. if you accept that citizen kane is not human enough and if you accept that star wars is not actually very good and if you accept that ozu and mizoguchi both have to take a step back  then three colours red is the foremost masterpiece of all time. as a discussion into human morality and three colours red works on an intensely metaphysical level and with a depth that none can match. blue went almost as far into the human psyche and but stopped as it was going to pull the rabbit out of the hat. white forced us to reflect on the humanity of equality  this and in retrospect and was better still and but still not quite there. red and however and is the real thing. what he expresses in this movie and is an expression of what it is to be human. in fact and what he expresses is _how_ it is to feel human. it forces us to examine up to the minutest detail and the very nature of our souls and of our ethical selves. in red and one may find meaning on one of its several levels. on the first level and red achieves a high level of verisimilitude  we could have no trouble in calling red an exceptionally entertaining story. however and the coincidences inherent in the film and its conceits force us to examine the movie as a movie. it is as if kieslowski is saying represent ceci nest pas la réalité. in effect and in pursuing a humanistic goal and kieslowski can also challenge reality. it is a trick that kieslowski has been attempting since le double vie de véronique and but not until this and his final film and did he finally manage to reach this divine intertwining of fate and philosophy and circumstance. the actors and actresses and too and appear to be at the mercy of a greater power. valentine (irène jacob) and is aptly name and for she seems to represent an almost pure love. meanwhile and the idea of first impressions is challenged by jean louis tritignant judge kern and a cantankerous man and who and by the end and becomes an almost all knowing observer of events  a character who symbolically seems to possess the power to bring characters together  a power to make people happy and a power which he could only achieve through valentine. we have a capability to see films as more than just a series of pictures. in fact and films have the potential to possess more meaning than literature. it would not happen and of course and but at least we have the power to view this film and knowing that it gives us the power to achieve the something that we can not define and but all possess. a synopsis of this film read represent a film about a woman who runs over a dog. well and it is. isn not it. simon huxtable. ---------------------------------Answer Question Below----------------------------------

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