 A film in three minutes. Three colours. Red. Are we all connected to one another? Or is life just the product of random chance? Do you believe the legacy of the people closest to you are a collection of coincidences, or is there a higher power at work? And if you try to do the right thing, do such actions become meaningless if you only did them for your own ego? If you're starting to get a migraine, then I don't blame you. Because only a master filmmaker at the peak of his craft, such as Kristof Kishlowski, could even begin to attempt a cinematic answer to such questions. And that answer may take the form of his final film in the masterful three colours trilogy, with a conclusion that will hopefully both surprise and move you. The story of Red follows Valentin, played by Irene Jacob, an aspiring model and university student who struggles to maintain a long distance relationship with her possessive boyfriend over the phone. After returning from a photoshoot, Valentin accidentally hits a dog with her car and tracks down the dog's owner, a retired judge named Joseph. Joseph reveals to her that he listens in to his neighbour's phone conversations without their knowledge, challenging Valentin's views on respecting the privacy of others. But more than that, Joseph argues that spying on his neighbour's lies and deceit, and whether or not to reveal this deception to the world, really makes no difference in the eventual outcome of people's lives. The film Red represents the theme of fraternity as depicted in the tri-colour flag of France, and is often considered the warmest of the three films due to its depictions of love and friendship between the characters. The colour Red, as with the previous two entries use of blue and white, is present throughout, giving the cinematography a warm, gentle glow. The motif of an elderly person trying to reach for a recycling bin featured in the first two films can be seen once again, however in this instance Valentin helps them, further adding to the thematic depiction of fraternity. The relationship she develops with the retired judge explores the argument of whether there is such a thing as true altruism, but it also goes further than that, playing on the idea of whether the personal actions we undertake and their outcomes are immutable. As the concluding chapter of the three-colours trilogy and the last film the director would ever make, Red is arguably the most complex and thought-provoking of all three entries. It's impossible to summarise in three minutes the sheer artistry of the way in which Kieschlowski gradually unravels the plot to us, and what its final message says about all three films in their totality. The journey that Valentin undertakes is one that echoes over from both Julie in blue and Carol in white, making the final message on embracing love one of universality. Despite being almost 30 years old, the three-colours trilogy stands to this day as one of the most ambitious works of European cinema to ever be undertaken, pushing the very limitations of what the director himself has said cinema can achieve. Kieschlowski's genius lies not just in how long-lasting an impact his work has had on countless audiences, but how close his stories get to uncovering the inner meaning that Julie, Carol and Valentin and all of us seek in our lives, because without love there can never truly ever be liberty, equality or fraternity.