Three Colors: White (1994)

The slightest of the trilogy yet still admirable as a Chaplin-inspired comedy. It offers an unflattering yet affectionate portrait of democratic Warsaw and features a standout turn from Zbigniew Zamachowski.

The critic praises the film's startling intense vignettes, its vivid depiction of post-communist Poland in flux, sly gallows humour and brilliant editing, while noting some elusiveness in blending comedy and love story plus an underdeveloped female lead.

The second part of Kieślowski’s trilogy feels raw and slight after Blue, but delivers a droll black comedy about equality, revenge and desire. It skewers post-Communist Polish ethics while ending on a note of unsentimental humanity.

The critic calls it the most playful and accessible film in the trilogy, highlighting its picaresque romantic odyssey with black comedy, glum pathos and satisfying anti-capitalist satire, though noting bubbling symbolism and moralising.

The critic finds White the easiest and most straightforward of the trilogy, a bleak but ultimately hopeful comedy from a hopeful pessimist that avoids bitterness despite its subject matter of marital breakdown and post-communist Poland. It stands out for its deft portrait of gangster capitalism and a superbly self-effacing performance from Zbigniew Zamachowski.

The critic finds 'White' a witty, deadpan marvel that contrasts sharply with the austere 'Blue,' praising its rich, light-handed storytelling and the lead performance's blend of bafflement and ingenuity.

The review calls it an entertaining, involving, bittersweet and droll second segment of the trilogy, highlighting the fine lead performance and ingenious rags-to-riches revenge tale filtered through abiding love.