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The Double Life of Veronique (1991)

La double vie de Veronique (original title)
Two parallel stories about two identical women; one living in Poland, the other in France. They don't know each other, but their lives are nevertheless profoundly connected.

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Nominated for 1 Golden Globe. Another 8 wins & 8 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
Halina Gryglaszewska ...
La Tante
...
La femme barjolée
...
Le chef d'orchestre
...
...
Antek
Janusz Sterninski ...
L'avocat (as Jan Sterninski)
Philippe Volter ...
Alexandre Fabbri
Sandrine Dumas ...
Catherine
...
Le professeur
Claude Duneton ...
Le père de Véronique
...
Claude
...
Serge (as Guillaume de Tonquedec)
Gilles Gaston-Dreyfus ...
Jean-Pierre
Alain Frérot ...
Le facteur
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Storyline

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 <cst@imdb.com>

Plot Summary | Add Synopsis

Taglines:

Each of us is matched somewhere in the world, by our exact double - someone who shares our thoughts and dreams


Motion Picture Rating (MPAA)

Rated R for scenes of sexuality | See all certifications »

Parents Guide:

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Details

Country:

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Language:

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Release Date:

22 November 1991 (USA)  »

Also Known As:

The Double Life of Veronique  »

Box Office

Gross:

$1,999,955 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Kiee'lowski features music by the fictitious Ditch composer Van De Budenmayer in this movie & Trois Colours: Bleu. See more »

Goofs

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 »

Quotes

Weronika: What else do you want to know about me?
Alexandre Fabbri: Everything
Weronika: [picks up her purse and gently dumps the contents on the bed in front of him]
See more »

Connections

References Un Chien Andalou (1929) See more »

Soundtracks

Verso il cielo
Music by Zbigniew Preisner
Text from Dante Alighieri (as Dante)
Performed by Le Grand Orchestre de la Radio et Télévision Polonaise de Katowice, Choeurs Philharmonique de Silésie,
Elzbieta Towarnicka (soprano), Jacek Ostaszewski (flute)
Conducted by Antoni Wit
See more »

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User Reviews

Split Alice
16 November 2008 | by (Virginia Beach) – See all my reviews

I save films. By that I mean that some films I expect to be so precious that I want to save them for some future drought, or blue period where I need spiritual insulin. Or it may be that a valued filmmaker has died and I know there is only so much to see new and I want to pace it through my life.

Kieslowski is something of a demigod in my film world. It isn't that he has mattered so much in the sense of affecting me. Its because he can push geography with the slightest touch, infer emotional richness with the most subtle of motions, show us beauty headon — headon without artifice. His the most delicate power I know in cinema. His "Decalogue" is complex, open, engineered to be contradictory in ways that seem natural. But they are not where the real juice is. Its merely where he worked out the way to weave vision and narrative conflict with his companion and creative partner.

It's "Three Colors" where it pays off. These are miraculous and I wish them on any open soul. They will tear you gently in ways you will not notice for years, and then know all of a sudden when you meet someone.

In between "Decalogue and "Colors," we have this, essentially an adventure in moving from Polish to French vocabulary, both emotional and chromatic. Here we see some of the strokes we will encounter later, in one colored film even with the remarkable Irene. But he seems unsure here. Things aren't integrated between cinema and narrative as they were before and would be afterward. The eye doesn't inform with curious discovery, instead seems to glance around and hover.

I suppose it is because the story isn't well developed in the way that others are. The deal with Kieslowski I think (beyond the beauty) is that he is able to infer future urges that probably will loop back into places and persons we see. (He closes a very few of these ordinary loops in the third colors film). But he never closes them, not the ones that matter. So we are left with our own emotions going ahead and anticipating results that matter to us, things started and not finished, breath sent out for us to catch and breath.

This film is based on Alice in through the Lookingglass, with a number of less-than-deft fixtures to the source. He tries to build grand arcs of anticipated futures around this symmetry but they aren't fragile and supported by our wishes as we have elsewhere. I think it was simply a time of adjustment for him, and I cannot recommend this, even though I saved it for decades.

I will suggest that if you do watch it, see the same story, the same emotional effects, the same tantalizing near-closure in "Sex and Lucia" by someone less gifted with the eye, but more gifted with the mysteries of women. Watch out for the delicate tearing.

Ted's Evaluation -- 2 of 3: Has some interesting elements.


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