We have seen couples enduring throughout Blue and White. Here there is just a woman and a man. They are lonely and they cannot escape their loneliness; not even in the chance friendship they find in one another.
Red however is a film about breaking cycles. Love will no more be thwarted by obsession and the past. In each of the films a couple has come together at the very end, truly this is a romance trilogy. Despite all that occurs in every film they all finish in the same place; with a shared love – or, in the case of Red, a love we can assume will come into fruition imminently. Fate has come into play. Our characters, from every film, are no longer alone, they are individuals with a shared destiny: to love one another.
Technically on par with both Blue and White the continuity of style is in part what lends Red its potency. Here the colour is used as one may expect, a story of spying and complex entanglements of the heart is framed in the sinister and heartbroken red tones that permeate every scene. However the film is far more traditional in its use of cinematography and music, which counterbalances the intricacies and contrivances of the plot. This lack of apparent deliberate craft softens the audience for the full impact of the trilogy, which comes at the end of the film. Life’s random twists and turns are in fact leading to something, something far bigger than any one of us can ever appreciate.
Those who cannot remember the past are condemned to repeat it.