SOURCE: "An Affectionate Look at Krzysztof Kieslowski's Three Colors," in Film Comment, Vol. 33, No. 2, March-April, 1997, pp. 46-8.

In the followíng essay, Insdorf asserts that "White illustrates how Kieslowski is a cinematic 'poet,' a Polish artist whose rich audiovisual vocabulary expresses a profound vision of human fallibility, as well as transcendence."

Three Colors: White is one of Krzysztof Kieslowski's deceptively simplest films. Of the trilogy, it has received the least critical attention, overshadowed by Blue and Red. But White illustrates how Kieslowski is a cinematic "poet," a Polish artist whose rich audiovisual vocabulary expresses a profound vision of human fallibility, as well as transcendence. Ironic but tender, his style includes haunting images that suggest spiritual forces at work in the perceptual world. Co-written with Krzysztof Piesewicz, White is the second part of the trilogy, which Kieslowski said derives from the colors of the French flag—the concepts...