BLUE and WHITE arrived!

[Friday]

Sigh...

The tumblin' tumbleweeds are slowly driftin' through this poor little thread...

Can ya see them?

drift....whoosh...drift...

 

[Friday]

drift...whoosh...drift...

 

[Number_6]

Okay...the glass coffin. Yeah, I think it's a coffin, and not a terrarium. There is no other plant life except at the top, where they would be if the coffin were in the ground. And the plant life is dead.

I don't think it's a coffin. Notice that there is condensation on it, so it might be a window, rather than a terrarium. But Julie is indeed trapped. Don't forget her words to her mother, about how love and involvement in the world are a trap. Julie has allowed herself to be drawn back into that trap.

I think this is a metaphor for her guilt and pain "dying" through the acts of letting go of her husband's last piece of music, and finally being able to fully "give herself" to Olivier.

Her catharsis (her being able to finally cry) signifies her rebirth thru this purge. She is free of the past.

Liberty.

:bigass:

But she didn't let go of the music. Instead, she chose to collaborate with Olivier on it, and reveal to the world the extent of her involvement with the writing of Patrice's music. This is letting go of the past, by letting go of the illusion of what the past was, a letting go facilitated by learning of Sandrine, and learning that the past really was an illusion.

She also feels free to "collaborate" with Olivier, as she has learned that Patrice had "collaborated" with someone else in the act of creation. Anna and the music are closely intertwined.

 

[Friday]

I don't think it's a coffin. Notice that there is condensation on it, so it might be a window, rather than a terrarium. But Julie is indeed trapped. Don't forget her words to her mother, about how love and involvement in the world are a trap. Julie has allowed herself to be drawn back into that trap.

I didn't notice the condensation before, but it's definitely there.

But it still resembles a coffin.

But she didn't let go of the music. Instead, she chose to collaborate with Olivier on it, and reveal to the world the extent of her involvement with the writing of Patrice's music. This is letting go of the past, by letting go of the illusion of what the past was, a letting go facilitated by learning of Sandrine, and learning that the past really was an illusion.

She also feels free to "collaborate" with Olivier, as she has learned that Patrice had "collaborated" with someone else in the act of creation. Anna and the music are closely intertwined.

Wow. Kieslowski is really a multi-layered director, isn't he? There's always more than meets the eye. I love this stuff.

This is letting go of the past, by letting go of the illusion of what the past was...

Multi-layered, indeed....

OH! What were those flashes of blue meant to represent? I read that they were meant to show the different stages of grief. Is that right?