Metacritic reviews

Throughout, White is filled with exquisite scenes that don't press too hard...and those moments are all the richer for their understatement.

Kryzstof Kieslowski's White...is a continuing testament to the Polish director's poetic mastery. Like all of Kieslowski's works, White articulates a whole language of sensations, images, ironies and mystery -- often with a minimum of dialogue. But it is no rarefied, abstract exercise. The movie...aches with human dimension.

What a strange confection White is – an opera of male agony and outrageously implausible picaresque adventure. Yet it succeeds amazingly on its own melodramatic terms.

The film specialises as much in a kind of ironic gallows humour as in laughter pure and simple, but bitterness is also avoided - which is a small miracle in itself considering the subject matter and the setting.

The entertaining second seg of Krzysztof Kieslowski’s “Three Colors” trilogy is involving, bittersweet and droll. A fine lead perf from Zbigniew Zamachowski anchors an ingenious rags-to-riches tale of revenge filtered through abiding love.

At heart, White is a black comedy with intriguing characters and a plot that plays its cards close to the deck.

All of these films approach their subjects with such irony that we cannot take them at face value; "White" is the anti-comedy, in between the anti-tragedy and the anti-romance.

Kieslowski plays all this for laughs, and the anti-capitalist satire which fuels Karol's rake's progress remains the most satisfying part of the film.

Despite its flaws, White is an excellent character study, and the presentation of a twisted love story is compelling.

There’s something earthy and elemental in this tale that was missing in Blue, something quirky and (measured by Kieslowskian standards) energetic.