ABSTRACT
Trois Couleurs: Rouge has proved to be the end of Kieslowski's film-making. With the film's completion in 1994, Kieslowski publicly announced the end of his career and his desire to devote his life to more contemplative activities. Identification is a vividly familiar concept in film theory, associated primarily with theories of spectatorship rather than with considerations of the construction of identity within particular films. Both the films (La Double Vie de Véronique, Decalogue 1) seem relevant to Rouge where the Judge's love for his virtual daughter appears to go on trial as he recognizes the object of desire she might have been, and faces the enormity of her loss in his fear that she is a victim in the ferry disaster, the tempest his fantasy has provoked. In the form of his filmmaking Truffaut also offers Kieslowski a telling point of reference in terms of patterns of filiation and interconnection.
