What is the meaning of the introduction of blue, white and red?

Blue and White: the abyss of love, pain and legal salvation

"The Last Breath of Life" is the title of a large-scale photographic advertisement for chewing gum shot by the heroine Valentine in red. From the photo, she looks sad and gasps feebly, like a dying lamb. Indeed, life is about to end from the beginning, and before the end, it is just to create an ending atmosphere and prepare for the ending ceremony. So life is always just a breath, the last breath. As Heidegger said, only when the hammer is broken will you ask what the hammer is. Many people don't realize, they don't know, this may just be a breeze in their hands, until fate retaliates against their shallowness and gives them a heavy hammer, leaving him with only his last breath, and they will suddenly become another person, another dormant image in their hearts. In Blue, Julie can no longer be a great musician's wife and a responsible mother after her husband and daughter were killed in a car accident, so she began to look for freedom, a cold, painful and nihilistic freedom. She found an unknown place to live and began her lonely and free life. She wants to be a free person at the last breath of her life, a person who can lick her painful wounds freely. The change of happiness is a revelation, just like Job in the Old Testament. The question is, can we still obey God in suffering like Job, or choose nothingness or revenge? In White, Carlo becomes impotent in his marriage to the woman he loves most in his life. This is not so much Liu Xiaofeng's explanation as Carlo's love for his wife makes him feel inferior and afraid that he can't satisfy his wife's desire. The deeper such a man loves, the more tragedy he will get. Augustus in red has been worried about whether he can satisfy his lover, and finally he is lovelorn. Carol's life suffered a heavy blow after her desire for love was humiliated. He began to become a dormant image in his heart, a successful and confident man, but just thinking about his wife, he suddenly became weak and burst into tears. Carlo has no obstacles to meet his ex-wife in Poland, just because he is carrying out a plan of revenge, not a plan of love.

Julie's pain in Blue is beyond ordinary people's understanding, because her pain is not limited and bound by the body, such as Winston in 1984, but the pain that happens in her infinite freedom. At the same time, she is an artistic neurotic woman. She took herself to the limit of pain, that is, the numbness when her fist slid over the stone wall and the indifference when she faced the rickety old lady who threw garbage. Carol in White was stripped of herself in all his desires for love. He took himself to the limit of lust, that limit is unscrupulous revenge, that is, ridicule when facing the rickety old lady. Blue and white correspond to Chislov's Ten Commandments series "A Short Film about Killing" and "A Short Film about Love". The protagonists in these two short films show the abyss of pain and lust with more extreme temperament. They are the same as blue and white, and this kind of pain and lust can only bring destruction in the limit. The difference is that blue and love.

Julie in blue found out that her husband had a lover-a female lawyer, so she went to see her. When she went to court, she saw a female lawyer dressed in white acting as Dominica's litigation agent, which shows that this female lawyer is an expert in marriage law, that is, she will look at marriage and love from a legal perspective. This legal vision, as can be seen from her conversation with Julie, does not exclude extramarital affairs and pursue family stability, but pursues the happiness of love and is willing to take responsibility. She loves Julie's husband so much, but she is so temperate and even tolerates her lover's decision to refuse to divorce. I think Julie finally wants to leave the family property to this female lawyer. Perhaps she was infected by this restrained passion and saw through the deep helplessness and acceptance in this secular love. Then let the living live a better life, even if it is only a little better. Julie finally started a restrained life in pain, and this restrained passion for pain was extended to her husband's unfinished European March, because music is a restrained passion, which tells the memory and tolerance of human suffering. By the way, I think law and music are very consistent in some ways. For example, both of them are permeated with the doctrine of the mean and kindness in concept, and both of them should have a system, echo and melody in form.

Like "Blue", at the end of "White", Carlo is downstairs in the detention center, looking at his ex-wife who still wants to love, and finally begins to express his revenge. This time, the action plan originated from the desire for love and revenge for love, and was interrupted by the law because it touched the law in the implementation. Although the participation of law is the end of Carlo's plan, when the law enters, Carlo finally sees the horror of revenge and hatred under the limit of love. At the end of these two films, it seems to symbolize that the law (female lawyers and detention centers) has given them another possibility of life, that is, how to live a gentle and just life in the abyss of lust and pain, so that this pain and lust can become a "disciplined passion."

Red: the dilemma of modern law and the possibility of salvation

If in the first two films, the law saved the lust and pain, then in Red, the law was saved by the lust and pain. In the long judicial career, the old judge gradually got lost in the iron cage made by law and could not extricate himself. He once told Valentine about two cases he tried. One of the defendants was a sailor. The old judge acquitted him in court, but finally found that he didn't find the truth. In fact, sailors did commit crimes. Therefore, the retired old judge is actually eavesdropping and peeping at the secrets of his neighbors, so as to see the truth of personnel. The sailor's story is not over yet. After the prisoner was released from prison, he got married and had children. Since then, he has stopped being a traitor and lived a happy family life. If he is convicted and punished, his future will be completely different. He may learn new criminal methods in prison and become distorted and paranoid psychologically. Then the question raised by the old judge is: Who is right and who is wrong? Even if justice is achieved through legal punishment, can it give us happiness? Valentine was disgusted with the old judge's eavesdropping activities and warned the old judge that "everyone has the right to privacy", but her warning was stupid, because she once faced an excellent judge, and he could not help but understand that everyone has the right to privacy, but the problem is that when we protect our rights by law, sometimes we are not happy, but miserable. If Valentine didn't go to the neighbor's house to stop the conversation, but told the neighbor that his phone was bugged, then the love secret of Longyang man was exposed, and a happy family would be miserable from then on. The meticulous pursuit of justice by law often leads to the opposite effect in the specific situation of life. As Liu Xiaofeng said when commenting on A Short Film about Murder, "Lawyer is a rather embarrassing profession, as if standing in the middle of a huge pair of scissors. On the one hand, the blade is the abstraction of jurisprudence, on the other hand, it is the concreteness of personal temperament. "

The second case that the old judge told Valentine was about his girlfriend's lover, who was an architect. Many people were killed when a building he built collapsed. This case was tried by an old judge, who found him guilty. This judgment is based entirely on the law. However, the old judge resigned after hearing the case. The reason for his resignation has always been a mystery. After all, he didn't make a wrong judgment. The answer may be that the old judge did not apply for withdrawal in this case, because his judgment is likely to be influenced by subjective emotions, because when he was passionately pursuing love, he witnessed the beloved woman with this person. The old judge was very vindictive and wanted to kill that man. So even if he didn't make a wrong judgment, his revenge has always permeated the whole court.

The two cases told by the old judge revealed three dilemmas of modern law based on formal rationalization and integrity monitoring: 1. The court only reconstructed the past facts afterwards and did not grasp the facts simultaneously. How can justice be guaranteed according to such "fiction"? 2. Is justice meaningful in itself, because sometimes when punishing crimes in strict accordance with the law, it is likely to ignore the personal temperament deeply embedded behind the perpetrator's crimes. It is likely that the court will ignore some things that may be more valuable while realizing legal justice, such as the possible happy life of the punished person. The value of the law to take care of is too much and too complicated. All this will be entrusted to a judge who is far less than God to handle the measurement. Can objective justice be achieved by the judge's own subjective judgment? Among the three dilemmas put forward by the old judge, the first is the superficial dilemma faced by the law, or the problem that is often put forward to the inside of the legal system from outside the legal system, that is, the client mentioned by Luhmann. The second is the most fundamental dilemma in modern law put forward by self-reflection in the legal system: the conflict between the abstraction of law and the concreteness of personal temperament. The third is to put forward the most profound religious philosophical significance through the dilemma of the legal system.

In the eyes of the old judge, the law was completely deconstructed, that is, the authority of discourse was lost. Therefore, he showed contempt for all the rights given by law and mocked the authority given to judges by society and history. In his eyes, only human beings and their own suffering are extremely real, and the law can do nothing about it. We were almost persuaded by the old judge, just as we faced the "religious judge" created by Dostoevsky in brothers karamazov. Even though we think what he said is wrong, we have always believed in it, and the rebuttal is only emotional. In my opinion, the old judge is like a religious judge, asking God the biggest question of his life. He is in pain, just like an interrogator, knowing that he is doing something wrong, but he still has to do it. This kind of pain is deeper than direct pain.

The second dilemma mentioned above also exists in the lawsuit of White. When the judge tried Dominic v Carlo's divorce case, he kept asking Carlo: Were you married to your wife? According to French civil law, marriage can be dissolved without the reality of husband and wife. The judge no longer considers the personal temperament of the parties, but does not hesitate to incorporate it into abstract rules. However, the formal rational law seems unable to bear this internal alienation, just like the short film about murder, the court finally sentenced the repentant murderer Jacek to death. After leaving the court, his defense lawyer went to the judge out of guilt and asked, "Would it make the result better if a more experienced lawyer changed?" The judge said deeply, "Not at all. Your defense is the best I have ever heard. " The judge went on to say, "This case should be tried by a better judge." In the face of extremely complex and varied individual temperament, the law is thin because of abstraction, so that it sometimes appears heartless. Therefore, when facing Jacek in court, the whole legal profession repented, repented for the law, because they were taught to obey the law, but the lawyer they saw was so divided from a person with the same personality they saw. So in a short film about murder, the judge said to the lawyer, "You are too sensitive to cooperate with the lawyer." Rationalization "encircles" modern law, making it impossible for law to feel the original fragile and lonely concrete humanity. It breaks away from the rationalization and complexity of individual ethical temperament, thus breaking away from the life world as the initial experience of law and becoming the iron cage of individual life. On the other hand, the savior of law is the kind of "sensitivity" that the law has not seen for a long time. It was the tears of Valentine who was deeply moved by the old judge, and that was what the old judge said himself. Because you know, you are kind. In a world of "the struggle between God and God", the abstraction of modern law is like a spider's web in the wind, which can't catch the fruit left on the tree of knowledge when God abdicates. How will the law enter the abyss of personal temperament, personal love and pain, and the abyss of struggle between gods, so as to build a returning ship without hanging the wrong flag?

The old woman and the court: the intersection of blue, white and red

Blue, white and red are like a "triptych". Although they are different stories, they cross each other, which embodies the unified context of the three stories. If Chislov wants to use tricolor series to allude to the ethical problems of the whole human race, then the intersection of tricolor shows its important position or universal existence on this important issue. Undoubtedly, there are two intersections between the three colors: one is the old woman who staggers and throws bottles into the trash can, and the other is the court.

Is God still there? This is a question full of modern moral anxiety. Chislov mentioned in an interview that there is an ethical crisis in modern society, but it is not the end of the world. It seems that he still has hope for mankind. I think it's because his god is still there. But in the three colors, how did God do it? When Li Meng mentioned tricolor in Love and Justice, he thought that the old judge in red was God. But I don't think so, because God is silent, he won't talk easily, and he won't stop looking at you. Once you see it, it must be the end of your life. In my opinion, the god in Tricolor is not an old judge, but an old woman who appears once in every movie-a rickety old woman, struggling to put a bottle in the trash can. She walked, worked, finished and left without saying a word, but she wouldn't go far. Her weakness symbolizes the abyss of the world, the abyss of love and pain, because she was plump and beautiful, but her kind and furious work between love and justice made her lose all her hair, wrinkled her skin and bent her body. In The Double Life of Veronica, when Veronica saw the old woman in Tricolor in the glass window, she shouted that she wanted to help her, but the old woman just paused and didn't promise her, but continued to hesitate. The old woman seemed to know the fate of Veronica's death and refused to promise her that it was enough to take care of herself. Even if God is present, he can no longer help people, because God's cause has been "completed" and he has consumed his majesty for hundreds of millions of years. He has lost his dignity in this world and no longer has the power to judge. After secularization, God's eternal judicial power has been seized by secular judges, and God only stands on the witness stand.

I once read a short story about an evil man whose soul was judged after his death. Seven judges sat in a high chair and made the evil man confess. The evil man refused to plead guilty, but the judge said he would call a witness. At this time, an old man wearing blue starlight came to the witness box, and the justices stood up to pay tribute. The old man cried and counted the sins of the villain, killing, raping and blackmailing his parents. The villain finally admitted his crime, but when the judges were ready to sentence him, the old man said that the villain had kissed his parents while they were sleeping. The judge dismissed the crying witness and declared the villain to go to hell. The villain admitted that he deserved it, but he hoped that the judge could tell him who the old man was because he was still grateful to him. The judge said, "He is a god."

God is deprived of the jurisdiction and the final jurisdiction, which is a major problem in modern society. This short story not only tells us the fact that God abdicated, but also tells us that God is too loving and weak to bear the heavy responsibility of judgment. He is just a suffering man, witnessing the suffering and sin in the witness box. As Bonhoeffer said, in the process of rationalization and secularization of human society, the world is maturing, and God is weak in this world without glory and reward. However, when judges (religious judges, old judges in red and short films about murder) took over the power of trial from God and became the new God, people no longer sought spiritual and physical pain from the church, but turned to the court for help. At the same time, after gaining freedom, individual temperament constantly hits the abstract boundary markers of modern law, and the law is forced to retreat step by step. So the judges became hesitant, inferior and full of guilt. They are just people, and they are really unfit to do God's things. Then, when the law becomes the new ark and the judge becomes the final judge, rationalization increases the density of people and secularization increases the gravity of people. Even if a judge is the closest person to God in the world, his way cannot walk on water like God's way.

The triple dilemma of the law described by the old judge in red boils down to the fact that judges can't work like gods: they can't see the truth clearly, can't see through people's hearts and can't understand themselves. Then, how to find the ultimate justice and kindness in a world where God is forced into the palace and judges are powerless? This is a big problem facing Kishi Nobusuke. In the documentary of Qi's self-portrait, a priest commented on him and said, "He touched an ancient question of mankind: Who is God? God or me? " Qi is a pessimistic person, but he is not desperate yet. In his eyes, God is not in the position, but he is still on earth. God is not dead. Really, she's alive! Qi Shi is conveying this exciting gospel in his film language. God is suffering actively, suffering with the world, and the Tao has become a difficult body, jumping into the abyss of lust and pain, sin and revelation. God is around, and everyone who suffers may be the embodiment of God. This is how I feel when I watch Tricolor again. So when we face such a bitter person, we should not just be indifferent and sarcastic, but love and help, because God's suffering is precisely because of this love. If people want to participate in God's toil in this world, they must actively share God's sufferings and worries. It is this kind of love that proves that the suffering in this world is not eternal and that people are not hopeless. It was this love that made Valentine help the old woman throw the bottle into the trash can. The old woman didn't say thank you, because God didn't need to thank people for their help. But at that moment, God has returned to his position. In human love, God has regained eternal authority, that is, the trial and redemption of love, that is, the cursed and blessed voyage at the red end, and the flood in the sky.

Love not only means loving others and becoming "for the existence of others", but also means loving yourself, cherishing your life and finding your own excellent lifestyle in a short life. This pursuit of a better life is based on the natural desire for love and pain, through rationality and prudence, and the practice of higher love and sadness. Only under the eternal authority of God's love, laws that complement each other with love and sympathy for specific human nature can bear the heavy burden of lust and pain. In my opinion, blue, white and red are all permeated with the tension between law and personal ethics. In Tri-color, every time the protagonist enters the court, his or her life begins a major change. In Blue, Julie goes to court to find a secret related to her life that she doesn't know. In White, Rikalo goes to court to prove his love (impotence) that is not bound by reality. Red, the old judge went to court to accept the punishment brought by her secret report. According to the research of good anecdotes, the court in this film is actually located on the west side of ile de la cité on the Seine River, close to the new bridge. This made me deeply realize the existence of this court that stands in many people's life events. It is not in the white clouds, nor in the heavy doors. Although it is giving or destroying, it still symbolizes reflection, confirmation and search for the world. The protagonists, like the rickety old lady, are holding an old bottle, hoping to throw it away in court and start a new life. In Chinese, the word "broken" has two meanings: "ruling" and "broken", which are the two meanings of the court. Therefore, this solemn gray building on a cloudy day inspires us to start looking for a prudent and just life in the abyss of fate. After the changes in the court, the protagonists finally began to understand the heaviness and hardship of love in this world. Law is just a means, a means to beat life, just like an alarm clock to remind classes. It won't tell you whether you can really find an excellent life of your own, but it's time to do it. As mentioned above, only when the law no longer becomes the shepherd of the ultimate spirit of mankind, the law is no longer forced to judge the spiritual value, and no longer blocks the entry and exit of free individuals with abstract iron gates, can the law pay attention to people's practical behavior again and how individuals and the public can find his or their legal life. Only in this way, can the law dispel the tension between itself and personal ethics and God, and become the road to connect personal ethics and God.

The life events in Three Colors are full of difficulties and paradoxes. Everyone seems to be living on the edge of life, as if only the last breath is left to realize the last wish. Kishimoto is a pessimistic person. Just like Ivan in Dostoevsky's works, he didn't want to let everyone suffer alone. He hates the American habit of saying "excellent". He said he could only say "I am like this", just like Bonhoeffer said-responsible for the world. Qi never forgets his people. The man in his eyes is like a poem by Haizi, sitting by the water, leaving only bitterness and resentment.

The trilogy Blue, White and Red is Kislovski's swan song. When making the trilogy, Kislovski recalled his life and creative experience. This book reads touching memories of life experiences and creative experiences from time to time, and talks about many ethical issues in life.

In 1970s, K zanussi, a Polish movie master, created a "movie of moral anxiety", and Kislovski's works pushed the "moral anxiety" to a deeper level. Kislovski believes that in a liberal society, people's moral conditions are more isolated. Because in a liberal society, there is no national morality, no national morality, no class morality, and no fictional or compulsory national morality. Personal moral commitment and its weaknesses are more fully revealed in a free society. The so-called liberal ethics is first of all a fragile understanding of personal moral commitment. What is the moral condition of individuals in a liberal society? Kislovski still discusses the ethical burden of free individuals in daily life through the moral dilemma of individuality. The ideology of a free society is freedom, equality and fraternity. The trilogy of blue, white and red should explore the personal significance of these values. Any values are not abstract, and the big ideas in the social system are also reflected in specific individual and private life events. If you want to know the taste of the ethical concept of life system, the most appropriate way is to appreciate the tears in the eyes of individuals living in this life system.

Rhett asks a Kantian question: How is love possible?

Fashion model Valentine is radiant. No matter what fashion she wears, she is immersed in the warm light, like the protector of all the victims in this chilling and charming world. One evening, she drove back to her residence and accidentally hurt a dog. Her pity drove her to take the dog to its owner.

The owner of the dog is a retired judge who lives alone. He is eccentric and listens to his neighbor's extramarital phone calls at home all day. Valentine persuaded the retired judge not to do such illegal acts and not to be so curious about other people's privacy, but the retired judge asked her if she had experienced the dizziness and nausea of love.

Forty years ago, the old judge was a law student and had a beautiful girlfriend. One day, he happened to see his girlfriend "with her legs open and a man in the middle". He left her, locked his love in his heart and let it gnaw at his body.

Valentine lives across the street, and there happened to be a law student named August. Valentine doesn't know him, but she often sees him rushing in and out of the gate from the window. Auguste seems to be repeating the fate of the old judge. One day, he saw his fiancee "stretching her legs with a man in the middle".

Valentine's elegant temperament is as pure as an angel, which makes the noisy and gloomy world look like a mythical green abyss. "This kind of beauty is pure? Or will there always be some defects? " Kislovski asked. The old judge and Auguste's fiancee are symbols of pure beauty. Pure beauty does not mean evil and immorality, but only the process of life: from imaginary and possible love to realistic love. Under the guidance of the old judge, Valentine was puzzled to see that the beginning and end of love are between the legs of his fiancee and the legs of another woman, which are open to men who are not her fiance. Is there pure love in the world? Or, is there love in life that can preserve the spirit?

Kislovski's question is, is there a perfect two of a kind in life? "Pure love imagination is broken, many times because people stubbornly seek two completely compatible individuals to meet in love. It is almost impossible for completely compatible individuals to satisfy their desire for love, which is just a beautiful imagination of love. Pure love can only be a reunion of two halves of the same apple. However, after an apple is cut in half and thrown away by the impermanence of life, the chance of half meeting the other half is close to zero.

Kislovski deliberately made the meeting between Valentine and the retired judge look like the same apple cut in half, and let them meet in the missed time gap. Forty years have not worn away the spirit, but the body is gone. Kislovski said that the real theme of Red is: "Do people sometimes live in the wrong times?" ""Is it possible for us to correct the mistakes made by God? "Is the fate of the apple being cut in half a mistake made by God? Could it be that people make mistakes in their own imagination of a better life? God has never promised that apples cut in half should overlap, and even there is no apple cut in half. It's just the imagination of one's spiritual desire. The word love can easily arouse people's beautiful imagination, and its meaning is either broken or wrong.

Nevertheless, despite repeated emphasis on the impermanence of fate, Kislovski did not become a Buddhist or a Taoist, and he stubbornly blessed Valentine. Valentine and August live across the street. Maybe they are just two halves of an apple. They meet face to face every day, and they miss meeting every day. Kislovski finally arranged an unexpected shipwreck: most people on board died, while Valentine and Auguste, who fled after being burned by love, were very few survivors. Fate appears in disaster. The old judge's breathing eyes saw the scene of the shipwreck from the TV news, leaving his last wish on the faces of Valentine and Auguste who occasionally depended on each other.

In the French tricolor flag, white symbolizes equality. Since the French Revolution, equality may be the most attractive utopian concept, just like a serrated sickle waving between human head and body. What Bai wants to ask is not the political or economic significance of equality, but the ethical temperament significance. The most personal aspect of marriage between men and women is obviously the appropriate place to observe the significance of temperament equality.

Carlo and his wife finally immigrated to France from Poland and suddenly became impotent. After arriving in France, Carlo lost all his ability to survive because of his language barrier, and his wife not only looks good, but also speaks a few words of French just enough for love exchange. This is enough to explain why Carol suddenly became impotent.

Carlo's wife proposed in French style that she was too thirsty to fall in love, so she suffered from depression and filed for divorce on the grounds of her husband's impotence. Carol repeatedly declared that he loved her, but she only made a simple request: Please show me. Love is based on sexual equality. Once this sexual equality is gone, two of a kind's love becomes rubble scattered on the concrete floor, and Carol kneels on this messy and hard rubble: Carol calls her wife, and her wife answers another man with a groan on the phone.

Sexual ability is the accidental result of random individual physiological and psychological matrix creation. So far, there is no equality theory that advocates the equality of individual body theory. However, the ideology of political and economic equality has influenced personal temperament and changed the ethical feelings of personal physical communication. If Carlo wants to regain his wife's love, he must know his sexual ability. Love has become a private struggle for equality and an accidental relatively equal between individuals.

Carlo pestered his wife who had successfully filed a lawsuit for divorce in France, and was humiliated and had to return to Poland. After returning home, Carlo not only made a windfall, but also unexpectedly recovered his sexual ability. He still loves his wife, pretending to be dead, looking for someone to report it, and asking her to come back and get the property. When she came back, she found that Carlo not only didn't die, but also recovered his sexual ability, and this ability was expressed without blame. Kislovski reminds people of a common fact: equality in love is composed of wealth and physiological conditions, and these two conditions are interrelated. Love is an accidental balance of individual differences (which may become inequality). Kislovski is asking people in love, is there really pure love? No trade-offs? Physical qualification, intelligence and interest, even psychological quality and temperament are all personal individual capital, not to mention today's national identity, wealth ability and professional status. However, will there really be equality between individuals? Kislovski questioned not economic equality or political equality, but personal temperament equality. Pure love is not unrelated to individual capital, but two kinds of feelings (sex) are mutually agreeable, no matter what elements of individual capital constitute it, it has nothing to do with equality or not. Love for equality is not pure love.

Most of Kislovski's works are written by himself, and making up stories is his way of thinking about life. By describing an accidental event, Kislovski either constructs or questions the meaning of an ethical concept. This story of exploring equality compiled by Kislovski contains comic elements: through the inequality of sexual ability, it highlights the illusion of equality appeal and laughs at the exaggerated equality ethics in modern ideology. Humans had better not act as equivalent algebra. In order to work out an equal number that will never be accurate, they hurt each other by drawing formulas on each other.

Personal freedom is not only a political ideal, but also an ethical ideal-personal freedom eager for a better life. However, due to the lack of individual life, this ideal is difficult to achieve. Liberal ethics has encountered a specious difficulty: since it is acknowledged that the imbalance between the lack of human body and the desire for beauty is constant, then individuals