Trois couleurs: Blanc 1994

Jonathan Kiefer, Salon.com: Kieslowski, who so keenly satirized the crippling excesses of communism in his earlier work, unflinchingly has a go at training-wheels capitalism, but not without affection for the thawing tundra of his beleaguered mother country. Read more

Caryn James, New York Times: How could the creator of Blue, the story of a woman who grieves by moping around Paris in a chichi haircut, possibly have followed it with such a rich, light-handed marvel? Read more

Jonathan Rosenbaum, Chicago Reader: He love that figures centrally in White appears more as a postulate than as a realized fact. To achieve something more durable and persuasive, real characters are required, not allegorical stick figures. Read more

Lisa Schwarzbaum, Entertainment Weekly: There's something earthy and elemental in this tale that was missing in Blue, something quirky and (measured by Kieslowskian standards) energetic. But there's also something damp and brown, like the sodden Polish countryside he pictures. Read more

James Berardinelli, ReelViews: White is an excellent character study, and the presentation of a twisted love story is compelling. Read more

Roger Ebert, Chicago Sun-Times: White is the anti- comedy, in between the anti- tragedy and the anti- romance. Read more

Geoff Andrew, Time Out: It's often cruel, of course, and cool as an ice-pick, but it's still endowed with enough unsentimental humanity to end with a touching, lyrical admission of the power of love. Essential viewing. Read more

Lisa Nesselson, Variety: The entertaining second seg of Krzysztof Kieslowski's Three Colors trilogy is involving, bittersweet and droll. Read more

Hal Hinson, Washington Post: In White, which details the agonies of obsessive love, [Kieslowski's] story is more realistic, and his style more prosaic, but the results are no less inscrutable -- and no less engaging. Read more

Desson Thomson, Washington Post: A continuing testament to the Polish director's poetic mastery. Read more