A side from the same handful of people with whom each of us interacts on a given day, there are hundreds, maybe thousands, that pass by our lives. They are a collection of strangers that forever exist in our periphery. Occasionally, one may, seize our attention, with a smile or a scowl. But they are soon forgotten. As are we.

In "Red," KRZYSZtof of Kieslowski's most recent film and the third in his "Three Colors" series, he examines the flow of our daily lives. "Red," starring Irene Jacob and Jean-Louis Trintingant, is a breathtaking film about the interwoven nature of our existence. "Who is that person sitting next to us?" Kieslowski asks. "Do we know them? Will we ever?" The idea that we are constantly surrounded by potential friends or lovers is not a new one, but rarely has it been expressed so tangibly, so beautifully.

Valentine (Jacob) is a model and student at Geneva University. With her boyfriend in England and her younger brother addicted to heroin, she struggles to maintain her composure. Driving home one rainy night, she accidently runs into to a German shepherd on the street. The dog belongs to a 65 year-old retired judge (Trintignant), who lives in Carouge, a residential suburb of Geneva. When Valentine takes the injured dog to him, the judge appears unmoved. Troubled by his reaction, Valentine assumes responsibility for the dog.

Eventually, life leads her back to this strange man. Fascinated by the judge's reclusive nature and bitter outlook, Valentine continues to visit with him. She is enraged to discover that he enjoys eavesdropping on his neighbors' telephone conversations.

Living behind the judge's garden is Karin, played by Frederique Feder. She works for a personalized weather service, and has a boyfriend named Auguste, played by lean-Pierre Lorit.

Augustw, who is 25 when we meet him, has just finished law school, and is studying to be a judge. He doesn't know Valentine, although he lives on the block opposite her, and probably passes by her every day. The path of Auguste's life represents that of the judge as a young man. Here, Kieslwoski comments on the circularity of life. As the judge withers, there is a young man with identical experience ready to take his place. Hopefully, Auguste will not make the same mistakes as did his older self.

"Red" links each of these people together.

At the core of this film is the relationship between Valentine and the judge. There is an understanding and trust that develops over the course of the film. At first, they are uncomfortable together. He attacks her innocence, while she criticizes his lack of faith. Valentine is disturbed by this man's hardened scowl, but she is determined to trace its roots.

Jacob has said that she relishes the "non-encounters" between Auguste and Valentine. The truth is that most people don't meet on the top of the Empire State Building. It is all the more probably that they never meet at all. The strength of this film is in depicting a relationship that never exists. Valentine loves the judge, but his age keeps him out of her reach. She would love Auguste, but she is unaware of his presence. The irony is that only the audience knows that these two are meant for each other.

The intended theme of this film is fraternity. Like the themes of the previous two films, liberty and equality, it is derived from the colors of the French flag. If Kieslowski fails anywhere with "Red" it is in straying from the preconceived path. These films say little about the meaning of their titles. Instead of a trilogy, "Three Colors" is more like three films connected by a thin thread, the appearance in one film by the main characters of another.

But, where "Blue" and "White" found it difficult to overcome a lack of focus, "Red" soars. On its own, this is an extraordinary film. While the first two films may have been forced into the mold of the trilogy, Kieslowski seems confident enough with "Red" to leave it alone. Whether or not it is the perfect expression of fraternity does not matter.

As Valentine, Irene Jacob is stunning. She transforms the screen as her huge poster transforms the streets of Geneva. It is a tribute to Kieslowski that this rather inexperienced actor is so at ease in front of the camera. Able to blend an innocent facade with an inner strength, Jacob is a pleasure to watch.

As her friend and mentor, Jean-Louis Trintignant is brilliant. This hardened old judge slowly gains our sympathy. This cold demeanor was used equally well by Trintingant in "The Conformist," but here he is forced to open up. The confession of his mistakes is one of the truly touching moments of the film.

Youth and inexperience haven't stopped Piotr Sobocinski, the director of photography, from shooting a luscious, substantive film. A few shots stand out as extraordinary. A scene in which Valentine poses for a chewing gum advertisement is ravishing.

So is the point of view shot of a falling book, as the judge explains how he once dropped a book from the balcony of an auditorium, the camera follows the path of the book all the while keeping Valentine and the judge in frame. Kieslowski, of course, should be given credit for designing the shot, but it is executed with extreme precision by Sobocinski.

The film's score should also be mentioned. Kieslowski's films are known for their music, and "Red" is no exception. Recorded by the War saw Syphony, the sound is so extravagant that is almost becomes a character on its own.

It is not uncommon for an audience member to be baffled for most of a Kieslowski film. It is probably impossible to see this film without hearing someone exclaim, "Oh, now I get it!"

The film maker's intentions are never revealed too soon. One must wait patiently for a sign, a hint, a gift from the director. Only then is it possible to recognize the significance of the film's many layers. Only then does it finally come into focus.

While he has been able to recruit the formost talent available to collaborate with, this is really a Kieslowski film. Every aspect of the film is superb, and this is a testament to his talent. With this trilogy, and "Red" in particular, Kieslowski proves that he is one of the most important directors of his generation.