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 »
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>
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 »
The above statement works not only as an honest description of the film, but also of the character (or characters) portrayed by Irène Jacob. The Double life of Véronique is not a film that allows easy description, it doesn't seem to fit in to any genre or category, it is a film that must be experienced under it's own terms, as a serious, hypnotic work of art. Director Kieslowski sets up the odd dreamlike atmosphere right from the start, using mirror reflections and odd camera distortions to show us the bizarre way that Veronique/Veronika sees the world around her. The use of sepia printing also gives the film an odd distilled look, taking us right out of any "real" reality, giving each of the frames something special. The problem this creates is that it takes away any real connection we have with the characters, we never really feel anything for them or are even that concerned for their outcomes, Kieslowski moves his actors around his "stage" in the same way the marionettes are manipulated in the film, but the film works on such a subtly hypnotic level I don't think that Kieslowski ever wanted us to feel part of this world. Kieslowski follows Veronique/Veronika through Paris and Poland, intimately probing her with close, hand-held camera, the cinema-verite effect of this making the viewer feel almost like a voyeur, following the women's every movements and encounters. The Double Life of Veronique is a film that definitely deserves to be seen and requires multiple viewings if we are to get everything out of it's complex, pre-destined narrative. A film full of beautiful images and haunting moods that you'll remember long after, if only there had been a little more focus on the characters I would certainly give it a 10. Maybe my next viewing will lift its marks. 8/10
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