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 »
1970. After discussions and dishonest negotiations, a decision is taken as to where a large new chemical factory is to be built and Bednarz, an honest Party man, is put in charge of the ... See full summary »
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 »
[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 »
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 »
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.
104 of 140 people found this review helpful.
Was this review helpful to you?
| Report this