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of hues — and the way he made them illuminate the most elusive of human desires — was part of what defined his graceful talent.
“‘White’ is a continuing testament to the Polish director’s poetic mastery. Like all his works, ‘White’ articulates a whole language of sensations, images, ironies and mystery — often with minimum dialogue. But it is no rarefied, abstract exercise. The movie, about a Paris-based Polish expatriate who has lost his wife and everything else, aches with human dimension.”
After his dark-horse 1991 hit “The Double Life of Veronique,” Mr. Kieslowski became famous for his camera’s breathtaking swoops and sexy plunges, and for teasing story lines that couldn’t be pinned down. The director upset his many admirers when he announced in 1994 that “Red” would be his last film because he wants to spend the rest of his days smoking cigarettes on a quiet bench somewhere.
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