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... See full summary »
19-year-old Tomek whiles away his lonely life by spying on his opposite neighbour Magda through binoculars. She's an artist in her mid-thirties, and appears to have everything - not least a... See full summary »
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 »
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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 »
Probably the best film of the decade. These are some keywords I think best suit this film: Religious, Fatherhood, Duplicity, Fullness, Sensuality, Offbeat
Due to the blasphemous american rants below (I can´t imagine a single movie from the USA in the 90s better than this one, sorry for that), I decided to write about this peculiar film. I think the film is more accessible for european viewers, the same way Dawn by law might be for american viewers (I can´t bear that pretentious american underground movies at all, with cool men swearing all the time, trying to be funny... I can´t identify with most of nineties american characters). There are many american art house films buffs as well, so I can´t say this is a general fact, it´s just my view anyway.
Regarding the development of the characters, Tsylia probably couldn´t understand at the beginning of the film how both women are described so poeticly. Weronicka is watching at the stars, while Veronique is watching the leaves fall. I see this is not evident but it says a lot about the two. Weronicka is more spiritual, magical, and Veronique is more practical, more "down to earth". If you cannot see the metaphores throughout the film you will not grasp anything about the development of the characters, that´s for sure. Furthermore, Irene Jacob performance is sublime, you can see on her face so many "difficult to express" sensations, she´s not just a beautiful face as it has been stated below (I can name hundreds of pretty american girls on stupid films, I was shocked to read Irene Jacob is just pretty, couldn´t these people see she´s a valuable actress as well). In any case she´s pretty in the sense Catherine Deneuve is, I mean she´s not the common beatiful woman, you can see by his gestures that she feels alone in the world, that she feels the fullness of life, ... She sometimes seems like an angel in this film (Weronicka).
I´m an atheist, but I admit the religious or spiritual feeling of the film engages anyone. The film evokes the idea that gifted people such this soprano singer have a spare part somewhere in the world, the same way the puppetier has a spare marionette for the one he uses most.
God is not mentioned but the scenes are revealing: Veronique caresses the bark of a thick tree in the very last scene, which could signify her real father as well, or just the idea of fatherhood.
The music is ten out of ten, if you feel nothing while listening to Preisner´s masterpiece, you´d better not say you´re sensitive anymore. This is his best for me alongside with the music for Short story of a killing and Damage soundtrack which sounds cruel and mysterious to me.
I can´t think of any other film more precious and lyrical than this one.
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