The White Key

 

In 1993 and 1994, the Polish film director Krzysztof Kieślowski released the Three Colours trilogy, each filmed in either France, Poland, or Switzerland.

As in David Lynch's use of the Blue Key in the film Mulholland Drive, Kieślowski uses the color blue (blue beads) as a thematic element, interconnecting with elements in White and Red.

When I wrote The Blue Key post, the idea of a trilogy eventually emerged because the container or archetype for it was already in mind as a form. This demonstrates that any fragment can be combined with any other fragments to form a narrative, even when there never was one. This is in some ways how conspiracies work: They are collective mental structures conjured with the power of suggestion, repackaged into a generative narrative structure that can spin out over longer periods of time non-linearly. It is a Serial essentially. If you've made a lot of work in any domain, commonalities will naturally emerge over time. I see this as an opportunity for seriality whenever possible.

In the Three Colours trilogy, "Easter Eggs" are strategically placed in each of them as "tunnels" within them: a lamp of blue beads, a plaster bust, a fountain pen, recycled bottles.

It's interesting that these films are pre-Internet and the Hyperlink has not become a fixture of our information universe.The linkages within the films are essentially "hyperlinks".