One major misconception about Polish filmmaker Krzysztof Kieslowski’s Three Colors trilogy is that the films were originally and uniquely conceived as French films, reflecting the color of the nation’s flag through the color scheme of each film and embodying themes which based upon the motto of the French Republic: liberty (Blue), equality (White), and fraternity (Red). But Kieslowski was insistent upon the fact that the stories would have remained the same no matter the national context. The framing of these films through thematics and aesthetics tied to the French flag, the director states, arose as a matter of the trilogy’s source of funding. Thus, the thread which defines the trilogy was a creative accommodation to the circumstances of the film’s production. Kieslowski’s vision for these films, then, was firm, but not rigid – the particular details of this trilogy were not predestined or set in stone. This fact frees the viewer from seeing the themes explored in the Three Colors trilogy as predominately or uniformly based within a national and cultural context. Yes, there are aspects of the brilliant Blue (1993) that are indisputably French, or at least Western European (it’s hard to imagine Americans mourning a contemporary classical composer as a national treasure), but the rather arbitrary circumstances in which the film’s production reflective in the trilogy’s connective framework allows for these themes to permeate well beyond the borders of France itself.