Krzysztof Kieslowski's final entry in his renowned Three Colors trilogy is a film so astounding that he, then in his early 50s, retired after completing it. Perhaps he knew he'd never equal it. Kieslowski's color-coded trilogy worked through the colors of the French flag (if he'd picked South Africa, he'd still be making it), rooting each film in France's national motto liberté, égalité, fraternité, and stuffing them chock full of universal themes. And all the tantalizing hints of a connection between the films led to this. Three Colors: Red takes its tale of a model's curious friendship with a retired-judge-turned voyeur, interlocking lives and loves, the nature of chance and the unlikelihood of happiness and masks it in a hypnotically ravishing aura of aching melancholy, silky-smooth camerawork, enrapturing characterization and lots and lots of red cinematography. It's a staggeringly beautiful, eloquent, preternatural, out-of-body experience that, if you revel in the challenge of mastering a film's dynamic traits and metaphors, peeling back the layers before finding the film's true nature, you will fall head over heels for.