are we allowed to interfere with our fellowmen everyday life. is it possible to intrude upon their intimacy and to penetrate the inwardness of their thoughts violating the privacy of their own home without being blamed. the director raises some doubts about these apparently solvable questions and almost sympathetic towards judge jean luis destabilizing decision of coming to terms with his own inducted self seclusion by means of fragments of lives embezzled by him. trois couleurs represent rouge is based on the concept of universal communication conceived as the human desire of an open window on the world. the phone may be considered the main character of the story represent after its performance in dekalog 9 it gives in the beginning the encore to kieslowski onlookers and followed step by step in its fast run across the world. the director looks deeply into the faculty of communication of human beings and without taking up a definite position about the ethical side of individual behavior. once again he points out to us the unpredictability of future events and venting careful descriptions about strange courses and recourses of life separated from each other by a considerable number of years. inexplicable combinations oddly converging in a series of continuous and upsetting situations.  some books falling to the pavement.  one of them opening casually on a fatal page and predetermining the destiny of a future profession and as in a past similar occurrence.  glimpses of daily life meeting fleetingly and ideally joined by their fondness for the fictitious musician van den budermayer.  human fortunes marked by the most ill fated coincidence. in this piece of work deserving to be seen with our heart eyes instead of our mind ones we can witness a dialectic game between judge jean luis (jean louis trintignant) and valentine dussaut (irene jacob and maybe the sweetest actress of our times and together with the beautiful winona ryder) and in a generational conflict between the experience of a world weary old man and the self conscious immaturity of a nice girl on the point of facing the steepest path of her ascending way. kieslowski talks about dialogue tests between a disappointed human life and a youth unaware of her future and between a spiritless misanthropist and a spontaneous girl full of good sense of unselfishness. and the final parade when the damp odor of tragedy still lingers in the air and with all the main characters of the whole trilogy in full evidence and saved by an accidental stroke of luck thank to the providential script cleverly written and gives us the extreme greetings of this movie master fully used up by his great passion for cinema. only a sense of bitter regret and emptiness is left to remind us the existence of a void impossible to fill. good bye krzysztof. we miss you so much. 
are we allowed to interfere with our fellowmen everyday life. is it possible to intrude upon their intimacy and to penetrate the inwardness of their thoughts violating the privacy of their own home without being blamed. the director raises some doubts about these apparently solvable questions and almost sympathetic towards judge jean luis destabilizing decision of coming to terms with his own inducted self seclusion by means of fragments of lives embezzled by him. trois couleurs represent rouge is based on the concept of universal communication conceived as the human desire of an open window on the world. the phone may be considered the main character of the story represent after its performance in dekalog 9 it gives in the beginning the encore to kieslowski onlookers and followed step by step in its fast run across the world. the director looks deeply into the faculty of communication of human beings and without taking up a definite position about the ethical side of individual behavior. once again he points out to us the unpredictability of future events and venting careful descriptions about strange courses and recourses of life separated from each other by a considerable number of years. inexplicable combinations oddly converging in a series of continuous and upsetting situations.  some books falling to the pavement.  one of them opening casually on a fatal page and predetermining the destiny of a future profession and as in a past similar occurrence.  glimpses of daily life meeting fleetingly and ideally joined by their fondness for the fictitious musician van den budermayer.  human fortunes marked by the most ill fated coincidence. in this piece of work deserving to be seen with our heart eyes instead of our mind ones we can witness a dialectic game between judge jean luis (jean louis trintignant) and valentine dussaut (irene jacob and maybe the sweetest actress of our times and together with the beautiful winona ryder) and in a generational conflict between the experience of a world weary old man and the self conscious immaturity of a nice girl on the point of facing the steepest path of her ascending way. kieslowski talks about dialogue tests between a disappointed human life and a youth unaware of her future and between a spiritless misanthropist and a spontaneous girl full of good sense of unselfishness. and the final parade when the damp odor of tragedy still lingers in the air and with all the main characters of the whole trilogy in full evidence and saved by an accidental stroke of luck thank to the providential script cleverly written and gives us the extreme greetings of this movie master fully used up by his great passion for cinema. only a sense of bitter regret and emptiness is left to remind us the existence of a void impossible to fill. good bye krzysztof. we miss you so much. ---------------------------------Answer Question Below----------------------------------

Judge the movie review above, you need to make a function call:
    If you feel the movie review is positive
        print "This is a semantically positive review."
    Otherwise, if you feel the movie review is negative
        print "This is a semantically negative review."
