THREE COLOURS

“Three Colours” is a meditation on the fragmented nature of lived and remembered time. It begins like a vague memory unexpectedly surfacing in the mind. What was it? You attempt to reconstruct it, but it remains elusive. You gather the fragments, piecing them together. When did it occur? It speaks of people, of music. Who were they? What were you doing? What was this music? Was it the winter? Was it at the sea? Springtime perhaps? At moments, clarity emerges, only to swiftly dissipate. It fades, and then fades further. It repeats, it morphs. Was it truly a memory, or perhaps a dream? But then, who was the dreamer? What unfolded in this dream? How did it conclude? And where were you? Who were you? On a visual level the film operates through scenes that follow one another as if in free association. The material varies in its features and quality. Some scenes are in perfect resolution and glorious colour, while others are dark, almost black and white, full of noise and compression artifacts. This is a deliberate choice as it conveys something of the fragmentation of what comprises our thoughts and memories. Of huge importance is the sound, which is also designed associatively, with music, field recordings, and noise blending seamlessly, morphing as the film progresses. The film begins with ambience and noise that becomes music, and ends with music that becomes noise and ambiance again. A voiceover punctuates the material, sometimes supporting and sometimes contrasting what we see.