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The Double Life of Véronique (1991)

La double vie de Véronique (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 10 wins & 8 nominations. See more awards »

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Cast

Cast overview, first billed only:
Irène Jacob ... Weronika / Véronique
Halina Gryglaszewska ... La Tante
Kalina Jedrusik ... La femme barjolée
Aleksander Bardini ... Le chef d'orchestre
Wladyslaw Kowalski ... Le père de Weronika
Jerzy Gudejko ... Antek
Janusz Sterninski Janusz Sterninski ... L'avocat (as Jan Sterninski)
Philippe Volter Philippe Volter ... Alexandre Fabbri
Sandrine Dumas ... Catherine
Louis Ducreux ... Le professeur
Claude Duneton Claude Duneton ... Le père de Véronique
Lorraine Evanoff ... Claude
Guillaume de Tonquédec ... Serge (as Guillaume de Tonquedec)
Gilles Gaston-Dreyfus Gilles Gaston-Dreyfus ... Jean-Pierre
Alain Frérot Alain Frérot ... Le facteur
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Storyline

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.

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:

View content advisory »
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Details

Country:

France | Poland | Norway

Language:

French | Polish | Italian

Release Date:

22 November 1991 (USA) See more »

Also Known As:

The Double Life of Véronique See more »

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Box Office

Gross USA:

$1,999,955
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby SR | Dolby Stereo

Color:

Color

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

The role of Alexandre Fabbri, played by Philippe Volter, was originally offered to Italian actor-director Nanni Moretti. See more »

Goofs

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 »

Quotes

Alexandre Fabbri: [kissing Veronique's forehead when she's lying upside down on his bed] Let's check and see if we're still bad for each other.
See more »

Alternate Versions

The American version features a different ending: in the original, Véronique drives to the house where her father is still living and pauses outside to touch a tree. He realizes that she's outside and raises his head from the bench where he's working. The American version features one minute of additional footage showing the father stepping outside the house, calling his daughter, and Véronique running into his arms. Kieslowski shot the additional sequences after the film's premiere at the New York Film Festival in 1991 at the insistence of , who at the time was president of the film's US distributor, Miramax films. See more »

Connections

Referenced in Version extendida (2005) See more »

Soundtracks

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

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User Reviews

 
Divine
2 June 1999 | by alfondoSee all my reviews

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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