The final section of the late krzysztof kieslowski's acclaimed three colours trilogy preceded by blue and white is the least likely of the three to stand alone, and indeed benefits from a little familiarity with the first two parts. Nevertheless, it's a strong, unique piece that reflects upon the ubiquity of images in the modern world and the parallel subjugation of meaningful communication. Irène jacob plays a fashion model whose lovely face is hugely enlarged on a red banner no one in geneva, switzerland, can possibly miss seeing. Striking up a relationship with an embittered former judge jean louis trintignant, who secretly scans his neighbours' conversations through electronic surveillance, jacob's character becomes an aural witness to the secret lives of those we think we know. Kieslowski cleverly wraps up the trilogy with a device that brings together the principals of all three films. Tom keogh