 A film in three minutes, free colours, white. Equality. We all supposedly love it and spend most of our lives trying to get more of it, but what does equality mean to you? How equal is your life when compared with your friends, or your boss, or how about your lover? And what happens when the equality you seek from your partner is sorely lacking, to the point where you make your desire to get even a personal vendetta? Which is exactly what happens in the second film of the free colours trilogy. The story follows Carol, a down-on-his-luck pole whose French wife, Dominique, divorces him due to his sexual impotence. After she freezes their bank account, takes their hair salon business away from him, as well as his residency permit in France, Carol is forced to return to Poland in his suitcase, and begins to gradually build a shady business empire that will eventually earn him the equality he desperately desires with his wife. White is considered to be the weakest of the three films in the trilogy, lacking in the kind of artistic flair or narrative complexity of blue and red. But White's story, a mixture of comedic fasts and tragedy, I think makes it the most accessible. The cautionary tale of a man seeking revenge against his partner is a universal one, with its ending providing a bitter lesson for Carol about the emotional costs his journey has taken him on. The use of the colour white is far more muted compared with the other two films, but Kiszlowski instead focuses more on the characterful nature of his native Poland. We learn how the end of the Cold War has made the former communist state more driven by market forces, with Carol using his newly acquired wealth to purchase a gun, as well as a dead body. His meteoric rise is heartwarming given the shabby state we first find him in, but Carol's master plan of faking his own death to frame his wife does not offer the kind of redemption he was initially seeking. There's a big knee of Zamashovsky's performance as the beleaguered Carol stays constantly sympathetic despite his actions, with his short stature and average looks making those he interacts with completely underestimate him. The friendship he builds with a depressed and suicidal Mikolaj offers a religious allegory of resurrection, after Carol helps him realise he wants to live again. Another nice touch is the Easter egg cameo of Juliette Bunoz, who enters the courtroom where Dominique divorces Carol, a setting shown briefly in blue. White may be the weaker film when compared with blue and red, but Kiszlowski's conventional direction makes it the most accessible for first-time viewers. There is no right or wrong order to watch the trilogy, but white may be the best place to start, as its rags to riches to revenge tale resonate with anyone regardless of nationality, and much like Carol himself, we're both left sad and happy after he gets what he wants, proving that sometimes equality isn't all what it's made out to be.