If it were in Three Colors, it’d be “Yellow.”

A sumptuously sexy exploration of personal identity, shared existence, and human mortality. It is as intriguing as it is perplexing that I needed aid from a fistful dissection of its plot to be able to understand films with narrative structure such as this. Apart from that, I got the impression that director Kieślowski wants to make out of its audience (or so I believe)—a melancholic trip of humanness whose plot resembles that of a three-segment line where you ought to stay in the middle, the less explored and unexposed one, allowing the psyche to experience complete immersion in the story.

The Double Life of Véronique (1991) looks beautiful, feels beautiful, and features the beautiful, which encompasses the very beauty of its pensive nature that is primarily projected by the golden yellow filter and Jacob’s double portrayal of the leads.