As a documentarian since the mid-1960s, Kieślowski had exhaustively explored the concrete realities of Communist Poland, but in the early 1990s, he declared a total lack of interest in Polish politics. It evokes. In a sense, the film is like music: Something that is difficult to articulate meaning from, but is somehow uncommonly effective in swaying our emotions. Artists walk a fine line when dealing with metaphysical themes, but Kieslowski pulls it off, leaving the viewer fascinated and intrigued. Later, the adult Weronika sees the world inverted in a transparent ball in which stars float; in the same scene, her train window distorts the landscape outside, seeming to open it up in small folds. (7.49) - Double vie de Véronique, La; Of course, Kieslowski's weakest is still better than most men's best, but the point is that it is an arty, "love it or hate it," kind of movie. I stuck it on and thought, "I'll grab something soon", but I couldn't leave the damn screen. The Double Life of Véronique 1991 ★★★½ . The Double Life of Véronique is the story of two young women who are -- in some mysterious and irresolvable way -- the same woman leading two different yet interconnected lives. The Double Life of Véronique retains the kind of mystery that subsists when the search for meaning and shape is undertaken with the seriousness and pleasure of game playing. T he first time I saw Krzysztof Kieślowski’s Double Life of Véronique— in a dark Boston University classroom almost 10 years ago—I dozed off for a few minutes. October 26, 2020 21:56. The Double Life of Véronique, his first true foray into the decade, is, in a single film, every bit the triumph of the multi-entry behemoths that surround it. Yet overall, the golden filtering transcends any obvious motivation. Review by Tim Curry Pro. One is called Weronika and the other Veronique. It is this incompleteness, this sense of the provisional and arbitrary, that finally ensures the film’s sense of mystery and saves it from the sometimes oppressive weight of narrative authority that overburdens Three Colors. As his dual heroine, Kieślowski cast Irène Jacob, a largely unknown twenty-four-year-old Swiss actress he had noticed in a small part in Louis Malle’s Au revoir les enfants; she would later play the lead in Kieślowski’s final film, Red (1994), the conclusion of his Three Colors trilogy. The Double Life of Véronique is a film that is intricately designed, with specially tuned color palettes and a meticulous attention to every corner of the image frame. Capturing that ineffable intuition of unity, meaning and influence in all things in art is as challenging as explaining it. What is there to discuss when you don't even know what happens, or rather what happens is secondary to what it evokes? illustration by Tony Stella. every shot has meaning, and every aspect aids in painting a bigger picture. illustration by Tony Stella. I can only say that the opening image of Jacob, as the young Polish singer Weronika, transfigured by music and literally singing in the rain, is quite captivating. How else to explain the ability of a French-Polish film with a nonsensical plot premise . Review by AaronLevins. I really love all of his work, and Three Colors as a whole (and individually) is a masterpiece, but on a single movie level I still view Double Life … This is a love tumblr. The Double Life of Véronique won the Prize of the Ecumenical Jury and the FIPRESCI Prize at the 1991 Cannes Film Festival for Krzysztof Kieslowski, and the Best Actress Award for Irène Jacob. 'The Double Life of Véronique' is currently available to rent, purchase, or stream via subscription on Amazon, Criterion, iTunes, and Amazon . Irène Jacob stars as both Weronika, a Polish soprano, and her double, Véronique, a French music teacher. Maybe because she has not had the international career of her Kieslowski contemporary Juliette Binoche, her face is not as familiar - so the reappearance of this fine performance has an added force and freshness. While most events in the film are witnessed or experienced by one of the two heroines, here we cannot be sure who sees these images, or what the filter is that they pass through. If you’re used to fast paced, plot-driven films this film will leave you with more questions than answers, but that’s part of its beauty and enduring attraction. They both are raised by loving parents, both of their mothers died young and they both have good relationships with their fathers. It’s a bit hackneyed, but The Double Life of Veronique is a film of feeling more than cold, clinical camera movements, and looking at our emotional responses to it is maybe the best way we can render meaning. Krzysztof Kieslowski's "The Double Life of Veronique" (1991) does us the favor of not supplying any explanation for itself, and is not even very clear about what actually happens. It's Alexandre, after all, who draws Véronique's attention to the existence of her double (through a … A single life should be sufficiently phenomenal; perhaps we would all fully appreciate the central astonishing fact of our own existence only if a cosmic twin were to be revealed before us, as if projected from the surface of a divine mirror. The Double Life of Véronique is a French and Polish-language film directed by the great Polish director Krzysztof Kieslowski. Although there are moments when Weronika/Véronique seems prone to a cloying chirpiness—arising partly from Weronika’s dubbing into Polish—Jacob displays a vibrancy and sustained alertness that energize the screen. Kieślowski and director of photography Sławomir Idziak consistently use a yellow-green filter that fills the world with a seemingly benign, autumnal glow. Tim Curry’s review published on Letterboxd: ... but there were key story moments that make those seemingly ordinary scenes hold a different meaning. It's an exquisitely crafted, symphonic film, with characters and scenes that haunt the imagination. The Double Life of Véronique, his first true foray into the decade, is, in a single film, every bit the triumph of the multi-entry behemoths that surround it. But Kieslowski suggests that the appearance of an uncanny double would be the occasion not of shock or horror, but ineffable sadness, a proof that we are not unique and not immortal. The Double Life of Veronique (1991) Director Krzysztof Kieslowski is one of the undisputed poets of Cold War and post-Cold War cinema. He tells her that the tape was part of an experiment for a novel: he wanted to know whether it was psychologically plausible for a woman to follow such a trail. Both women are sexually active, yet their truly intense ecstasies come in nonsexual situations: few cinematic images of female pleasure are as pronounced as Weronika’s face in the rain, or as that swooping camera movement over Véronique when she gets up after reading on her bed. In the otherwise seemingly naturalistic No End (1985)—cowritten by Krzysztof Piesiewicz, collaborator on Kieślowski’s subsequent fictions, The Double Life of Véronique included—a woman receives visitations from her dead husband. But then, the Alexandre intrigue is explicitly about contrivance. la double vie de véronique Chinese meaning, la double vie de véronique的中文,la double vie de véronique的中文,la double vie de véronique的中文,translation, pronunciation, synonyms and example sentences are provided by ichacha.net. He also writes on film for the Observer, Sight & Sound, and Screen Daily and is program adviser on French cinema for the London Film Festival. (While never laying on thick dialogue to goad the audience!) Later, when Véronique receives the mysterious phone call, we see a reprise of Weronika’s death, an image dimly seen through an amorphous body of red-brown light or liquid, as if preserved in an amniotic haze. The Double Life Of Veronique isn’t a didactic film, mostly—it swims in a sea of dreamy, intensely colored images and emotion-driven associations, and lets viewers draw their own conclusions. Jonathan Romney writes a weekly review column for Filmcomment.com. Weronika spots Véronique on the bus and has only a few moments to stare in wonder as the bus drives away. Nothing more.” Yet he also confessed that he aspired to those moments when a film manages to escape from literalism. The Double Life of Véronique. 10 Reasons Why “The Double Life of Veronique” is the Best Kieslowski Movie Posted on October 4, 2016 October 4, 2016 by Hrvoje Galić Krzysztof Kieslowski is one of those rare directors who can reach the viewer in an almost unexplainable way. It invites analysis, yet it also encourages us, in its creation of a nebulous, numinous world, to bypass critical inquiry and to respond on a sensual, emotional, or even—if we are so inclined—spiritual level. France has long served as a haven for Polish expatriates. The Double Life of Véronique is the 1991 movie that marked Krzysztof Kieslowski's transition from his realistic, political movies to a mystically patterned, self-consciously poetic cinema. This piece was originally published in the Criterion Collection’s 2006 edition of The Double Life of Véronique. One version, for example, concentrated more on the subplot—vestigial in the finished film—in which Véronique agrees to play co-respondent in a friend’s divorce hearing. The Double Life of Véronique is a tenderly photographed account of two women (one in Poland and the other in France, both portrayed by the deity Irène Jacob) living eerily analogous lives. it is undeniable that the filmmaking aspects of this are perfect. Its effect on the viewer is subtle but very real. Véronique (Irène Jacob) is a French woman on vacation in Warsaw. What is the meaning of la double vie de véronique in Chinese and how to say la double vie de véronique in Chinese? Véronique's life follows a similar track, while her affection for Alexandre (Philippe Volter), a puppeteer, suggests the working relationship between the actress and the filmmaker. Krzysztof Kieslowski's international breakthrough remains one of his most beloved films, a mysterious rumination on identity, love, and human intuition. I hope you find home here. ― Anonymous User 12/20/2005 The Double Life of Veronique's mirrorical plot takes the concept of destiny and examines it closely, sentimentally. Significantly, when a demonstration takes place in a Kraków square, Weronika, sunk in her own thoughts, walks in the opposite direction from the crowd. With Irène Jacob, Wladyslaw Kowalski, Halina Gryglaszewska, Kalina Jedrusik. life, and its paradoxical, immanent and yet differential relationship with death, non-life or what is other than human. Playing detective, Véronique traces the tape to Paris’s Gare Saint-Lazare, where she finds Alexandre waiting for her. History may have sidelined The Double Life of Véronique, but that is not to say the film has not lasted. constantly trying to search for an explanation distracts from the true experience provided by The Double Life of Véronique, which is something i wish i knew before watching. A new life experience is in the air today, a perception that explodes the form of the linear narrative and renders life as a multiform flow. Part of what wrong foots the audience is the asymmetry resulting from Weronika's departure from the story relatively early on, and another part might be a sense that having renounced her vocation, Véronique's life does not have the romanticism of Weronika's death. Imagine you see someone who looks exactly like you but there is no connection whatsoever – or is there? By Kieślowski’s estimation, he and editor Jacques Witta prepared around twenty rough cuts of The Double Life of Véronique, some more narratively transparent, others considerably more opaque. Other articles where The Double Life of Veronique is discussed: Krzysztof Kieślowski: …Double Vie de Véronique (1991; The Double Life of Veronique) came commercial as well as critical success. When Krzysztof Kieślowski’s The Double Life of Véronique was first screened at Cannes, in 1991, the critical reception was rapturous. The Double Life of Véronique is a film that's so hard to discuss because it is a film so centered on mood. Capturing that ineffable intuition of unity, meaning and influence in all things in art is as challenging as explaining it. And both of course are played by Jacob, though Weronika's Polish dialogue is dubbed. That capacity of Weronika’s marks Véronique, too, as an acutely feeling organism, a woman susceptible to grief, liable to fall in love, and seeming to feel only the thinnest membrane separating her from the sensuous world. Véronique receives an anonymous phone call—which fascinates rather than threatens her—during which she hears a snatch of the music that Weronika was singing when she died and that she herself is teaching at school. 10 Reasons Why “The Double Life of Veronique” is the Best Kieslowski Movie Posted on October 4, 2016 October 4, 2016 by Hrvoje Galić Krzysztof Kieslowski is one of those rare directors who can reach the viewer in an almost unexplainable way. The Double Life of Veronique: Review and Analysis Two girls are born on the same day in 1968, one in Poland, the other in France. If The Double Life of Véronique spurs us to search for meaning in a maze of fragmentary significations, it is perhaps because Kieślowski made the film in just such a spirit of pursuit, quite simply in the sense of teasing out narrative shape. September 22, 2020 20:33. The narrative, as it develops, is anything but simple. Weronika prepares for an … Ratings & Reviews. But I still loved this movie, at least for what it gesture towards. Directed by Krzysztof Kieslowski. Two parallel stories about two identical women; one living in Poland, the other in France. It was hypnotic and it was engaging. Weronika spots Véronique on the bus and has only a few moments to stare in wonder as the bus drives away. I was hungry when I decided to watch The Double Life of Veronique and I'm still hungry. Though I’ve seen the film a handful of times, I’ll freely admit to being baffled by… The Double Life of Véronique. In another version, this intrigue disappeared completely. I can only say that the opening image of Jacob, as the young Polish singer Weronika, transfigured by music and literally singing in the rain, is quite captivating. There are rumors of a release in 2005, but for fans of movies like Amélie hungry for something with a little more depth, The Double Life of Véronique comes most highly recommended -- even if you have to … 7 0; Ayesha's rating of the film The Double Life of Véronique ... and then the life of Veronique, is reflected back and forth in a dreamlike and hypnotic way. The lack of this masterpiece's availability on DVD is a sad affair. One of the film’s most compelling aspects is its explicit self-reflexivity, of which the marionettes are the most extreme and, it must be said, most arch manifestation. One thing for sure, it blurred the meaning among dream, movie and reality. THE DOUBLE LIFE OF VÉRONIQUE is an unforgettable symphony of feeling. As she tells Alexandre (the puppeteer), all her life she's felt as if she knows "what she should do"; she has felt the hand of fate guiding her actions. This is the kind of film for people who like to contemplate the meaning of life and their own existence. The Double Life of Véronique opens the possibility for a reading of life and the body as being immanently related to a differential field of indeterminate sense and incorporeal potential. Véronique's identity, her very existence, become vivid and deeply felt because the fable or mirage of its duality has allowed it to be questioned and examined. The two women at different points twist threads around their fingers; Véronique stretches one over a printout of her EKG result, as if tracing an equivalence between her and Weronika’s life lines. I personally think that it's his best individual film. That double is the French music teacher Véronique; immediately after the death of Weronika, of whose existence she has no inkling, Véronique experiences an uncanny sense of grief and solitude and consequently quits her other career as a singer. Kieślowskis nearest inheritors, arguably, are the Mexican team of Alejandro González Iñárritu and Guillermo Arriaga, notably in 21 Grams, a mosaic narrative that explicitly speculates on the nature of the soul. Offended, Véronique walks out, but he follows her, and they become lovers. The Double Life is the enigmatic story of doppelgängers: Weronika and Véronique are two young women in Poland and France, both singers, the same age and physically the same in every respect, unaware of each other's existence, yet unconsciously sensing a spectral companion. At such moments, the film’s precarious realism collapses, and a sense of the mystical or metaphorical imposes itself. Partly because she is associated in the viewer’s mind with no previous role, partly because she is on-screen throughout, Jacob comes to be so totally identified with Weronika/Véronique that it is impossible to imagine anyone else in the part. And the ten-part Decalogue (1988), based on the Ten Commandments, contemplates fate and the interconnectedness of human lives in a harshly realistic setting. Audience Reviews for La Double Vie de Véronique (The Double Life of Veronique) Oct 08, 2015. The Double Life of Véronique:Through the Looking Glass. The movies in his Polish/French trilogy, Blue, White, and Red, are finely tuned, sensitive, imaginative dramas that use mystery, music, psychology and visual fluidity to immerse you in another world that is beguiling and fascinating. The trope of double-identity becomes a brilliant meditation on choices and alternative lives, on the presence of death which forces these choices on us, and on the terrible demands which art can make - if we choose to let it. Intensely focused on Jacob, The Double Life of Véronique looks like one of those films designed expressly to make us fall in love with its star—an intention felt from the very first close-up of Weronika, in the rain, staying behind to sing alone as the choir disperses around her, her face radiant with delight. It has mostly been the case that this blog does not trade in the review and analysis of classic films, for any number of good and bad reasons. In its teasing, fragmentary nature, it may well outlast the Three Colors trilogy, with its somber attempt at a definitive encapsulation of the human predicament at the end of the European twentieth century. This shot defines Weronika both as a spiritual being and as a woman susceptible to earthly ecstasy; her embrace with her boyfriend, Antek, directly afterward seems an extension of this moment. There are rumors of a release in 2005, but for fans of movies like Amélie hungry for something with a little more depth, The Double Life of Véronique comes most highly recommended -- even if you have to … Suffering from heart problems, she dies in midrecital, shortly after seeing her doppelgänger in a Kraków square. The sheer, heart-stopping beauty of Irène Jacob is what shines out, firstly, from this welcome revival of Krzysztof Kieslowski's great movie from 1991. Luis Buñuel lays bare the amorality and illogic of human affairs in the slew of straight-faced absurdities that make up his penultimate film. Finally, the Double Life of Véronique we have is one among a multitude of possible versions. The Double Life Of Veronique isn’t a didactic film, mostly—it swims in a sea of dreamy, intensely colored images and emotion-driven associations, and lets viewers draw their own conclusions. The Double Life of Véronique is a puzzle film, itself a metaphor for life: a mystery that may have a design but, if so, willfully obscures it to force us to pursue meaning. The Double Life Of Veronique (1991) is an abstract and mysterious work in its imagery and intentions but manages to be pretty easy to follow as a story. Krzysztof Kieslowski's The Double Life of Veronique (La Double vie de Véronique) not only acknowledges this idea of slightly-tweaked existences, but also perceptively -- and with a painterly, figurative eye -- outlines how a unique girl differs between two versions of the same life, shaped by her surroundings and decisions. The lack of this masterpiece's availability on DVD is a sad affair. I won’t lie that I think some of this story and it’s meaning was lost on me. The Double Life is the enigmatic story of doppelgängers: Weronika and Véronique are two young women in Poland and France, both singers, the same … The Double Life of Véronique. Weronika and Véronique, two young women living in Poland and France (both played by Irène Jacob), are both singers, the same age, and identical in appearance. Meaning it is about everything that comes with love: the wonderful, the hurt, the distance, the beauty. The Double Life of Véronique 1991 ★★★★★ Watched Sep 02, 2020. This essay was originally published in the booklet accompanying the 2006 DVD release of The Double Life of Véronique. Indeed, despite the reverence accorded Kieślowski toward the end of his career and since his death in 1996, his later work appears to have had surprisingly little direct influence—notwithstanding two unremarkable attempts by Tom Tykwer and Danis Tanovic to film parts of another planned Kieślowski-Piesiewicz trilogy, Heaven and Hell, respectively. Learn English with the movie La Double Vie de Véronique (The Double Life of Veronique) and fleex By watching the movie La Double Vie de Véronique with fleex, you can improve your English effortlessly. The Double Life of Véronique retains the kind of mystery that subsists when the search for meaning and shape is undertaken with the seriousness and pleasure of game playing. The Double Life of Véronique is a French and Polish-language film directed by the great Polish director Krzysztof Kieslowski. Benjamin Reed’s review published on Letterboxd: Kieslowski just gets me, man. Such is the meaning within the vague proceedings of The Double Life of Véronique. The narrative is also, of course, an ingenious response to a professional challenge: how can a Polish director best face the demands of a European coproduction to be shot in his own country and in France? She later falls in love with a puppeteer, Alexandre, whose image she sees in a mirror while he is performing at her school. Actress award at Cannes, in 1991, the Double Life of Véronique, a Polish choir,. Difining filmmakers in 80s and 90s art house cinema and sadly passed away in at! 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