I remember originally seeing Krzysztof Kieslowski's Three Colors: Blue, White, Red in the mid 90s post college days. It was another ambitious project like The Dekalog. The three films are based on on France's national motto: Liberty, Equality, and Fraternity and correspond to the colors on the national flag. But the first installment, Blue (1993), is obliquely related to the idea of "liberty." In this film, Juliet Binoche plays the wife of a famous composer who survives a car crash that takes the lives of her husband and young daughter. She has the means to live without working, so she tries to disassociate herself from her former life and the memories associated with it, but it proves to be more difficult than she expected to cut all ties from her past life. Through out the the film there are musical, color, and visual motifs that are returned to. It is a bravo performance and the film is strengthened by the usual contributions of his usual crew which includes composer Zbigniew Preisner and cinematographer Sławomir Idziak. Idziak is know for his striking use of color filters in his films-he was the cinematographer on the excellent A Short Firm About Killing, from The Dekalog. I did not remember this film well, but ti stands the test of time well. It is another masterpiece of subtly from a master director. The Criterion treatment includes: new high definition digital restoration, cinema lesson with director Krzysztof Kieslowski, new video essay by film studies professor Annette Insdorf, new interview with Three Colors composer Zbigniew Preisner, selected-scene commentary featuring actor Juliet Binoche, Reflections on "Blue" and Kieslowski: The Early Years, interviews program featuring film critic Geoff Andrew, Binoche, filmmaker Agnieszka Holland, Idziak, Insdorf, actor Irene Jacob, and editor Jacques Witta, The Tram (1966), a student short by Kieslowski, and The Face (1966), a short staring Kieslowski.