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 »
A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
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 <email@example.com>
Kiee'lowski features music by the fictitious Ditch composer Van De Budenmayer in this movie & Trois Colours: Bleu. See more »
A heavy rainfall occurs at the beginning of the film. Unfortunately, as the camera pans up to show a large statue in the back of a pickup truck, the "rain" is revealed to be water being sprayed from the side. See more »
Like Last Year at Marienbad this is a film so beautiful that its worth viewing even if there is no meaning to it. The use of light and shadow is spectacular, the music is divine, and the camera is constantly seeking and finding beauty in every shot.
Looking at the postings so far it seems everyone has a different explanation, so I might as well throw mine into the mix. To me Veronique/Weronika are twin angels being manipulated (guided might be a better choice of word) by God (or an abstract Divine) for some unfathomable purpose. Consider the use of the puppeteer as a metaphor for the condition, look at how he says he makes two because they are fragile and break easily (just as Weronika breaks in her concert). Veronique speaks of how she always knows what to do in every situation as if her life is leading up to something. Theres a telling scene about midway through the film where Veronique walks between shadows through a slender path of light her face gazing rapturously at the the sun. Both V's appreciate and reflect the beauty around them: light, shadows, the falling rain, ... highly reminiscent to me of the 'fallen' angels in Wings of Desire.
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