elías’s review published on Letterboxd:
This is the fourth time seeing this film in the span of two months. And with each watch, I'm finding something new to take away from it.
Irène Jacob manages to make something quite spectacular, her iconic performance as both Weronika and Veronique astounded me the first time, and continues to do so now.
I can understand that Kieslowski was not particularly a spiritual individual, yet he still plays with the matters of fate, he did so in Dekalog, and continues to do so here. It's an interesting idea that with the wrong director, it could be looked at as empty convenience. But instead, Kieslowski adds layers of subtext to this film, making it less about convenience, and more about making us question why these things are happening, and whether there is an element of fate in these character's actions.
Preisner's score nearly brings me to tears while watching the film, one pivotal scene in particular always gives me goosebumps, not just because of the directing, but also because of the operatic score accompanied by it (if you've seen the film, I think you know which scene I'm talking about). Somewhat random thought regarding the score, the track Tu Viendras towards the beginning of the film will always be iconic for me. It's in every playlist of mine that I can think of at this point.
Idziak's cinematography is captivating to say the least. The use of that gold-ish filter for the camera brings vibrance to the color pallate in the film. It's what made him stand out in Dekalog: Five/A Short Film About Killing. But it isn't just color and filters, it's also the framing of the characters, with many close ups that makes me feel more connected to them. It's also the visual poetry that came with certain shots of reflections and such. There's a lot to dig into with the visuals of this film, and I don't really have the time to fully analyze it to the extent it needs to.
It's 1:40 in the morning when I'm writing this, so I'm sure my words here either don't make sense, or I'm just a terrible reviewer. But regardless, what I can say for sure about this film that was true the first time, and still is so this fourth time around, I'm left contemplating whether or not we're all bound by fate in some way shape or form. Whether we're all connected by a unified metaphysical matter that we don't even know exists in some way.
These may be random thoughts, and I know I can't speak for Kieslowski, but I'm willing to bet that perhaps he was having these thoughts as well when conceiving of this film.