The plot couldn't be simpler or its attack on capital punishment (and the act of killing in general) more direct - a senseless, violent, almost botched murder is followed by a cold, ... See full summary »
It's 1982: Poland is under martial law, and Solidarity is banned. Ulla, a translator working on Orwell, suddenly loses her husband, Antek, an attorney. She is possessed by her grief, and ... See full summary »
Filip buys an eight-millimetre movie camera when his first child is born. Because it's the first camera in town, he's named official photographer by the local Party boss. His horizons widen... See full summary »
1970. After discussions and dishonest negotiations, a decision is taken as to where a large new chemical factory is to be built and Bednarz, an honest Party man, is put in charge of the ... See full summary »
Left behind by a circus, a camel wanders to the house of a simple middle-aged couple. Although the wife is initially bewildered by the strange and unexpected animal, her husband immediately... See full summary »
Weronika lives in Poland. Véronique lives in Paris. They don't know each other. Weronika gets a place in a music school, works hard, but collapses and dies on her first performance. At this point, Véronique's life seems to take a turn and she decides not to be a singer... Written by
Colin Tinto <firstname.lastname@example.org>
The text sung by Weronika in the Concert is actually the beginning of the second Chant of Dante's Paradiso: "O voi che siete in piccioletta barca, desiderosi d'ascoltar, seguiti dietro al mio legno che cantando varca, Non vi mettete in pelago, ché forse, perdendo me, rimarreste smarriti. L'acqua ch'io prendo giá mai non si corse; Minerva spira è conducemi Appollo, è nove Muse mi dimostran l'Orse." Dante, Paradiso, II, 1-9. See more »
When Weronika is at the window of the bus, she holds some papers up to Antek, who is on a motorcycle. The angle she's holding the papers at alternates from perfectly straight to slightly askew as the shot alternates repeatedly from back to front. See more »
Review for The Double Life of Véronique (no spoilers).
Krzysztof Kieslowski's The Double Life of Véronique (originally titled La Double Vie de Véronique) might be the best film in the late director's accomplished oeuvre. Perhaps most lauded for his monumental Three Colors trilogy, Kieslowski first explored themes of duality, synchronicity, and fate in this cinematic reverie. Irène Jacob, also the star of Red, handles a double role as two women cut from the same metaphysical cloth -- the Polish Veronika and the French Véronique. Her presence as both women is at once whimsically childlike and sensually melancholic; relentlessly alluring, it is easy to see why she became Kieslowski's muse. Jacob is perfectly fluid in the shift between characters, an embodiment of ideal femininity, as dreamlike as the tone of the entire film.
Actor and director are symbiotic, relying on hazy, autumnal ambiance and mood for narrative, utilizing a subtle minimalist approach to dialogue. This is fine art, unlike heavy-handed Hollywood productions. The tone is consistently ambiguous -- emotionally resonant, to be sure, but beyond a vaguely somber, wistful undercurrent, the movie allows the viewer to fill the "empty space" with his or her own thoughts and feelings. It's a true testament to Kieslowski's mastery, and few films are ever so transcendentally sublime.
The lack of this masterpiece's availability on DVD is a sad affair. There are rumors of a release in 2005, but for fans of movies like Amélie hungry for something with a little more depth, The Double Life of Véronique comes most highly recommended -- even if you have to search high and low for a copy on VHS.
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