The Double Life of Véronique

The Double Life of Véronique ★★★½

The Double Life of Veronique is a film that was made for me.

If the only element picked just for me was Irene Jacob, then that alone would be enough for me to fall hopelessly in love. Her joyous vocalized rapture as Weronika mirrored by her tentative, cautious persona as Veronique would be enough to melt my heart. Kieslowski doesn’t stop there, though. He must have known that I had a particular affection for the concept of mirrored characters. Both sides of the coin viewed simultaneously, but from slightly different angles. He further woos me with his application of indistinct and subtle narrative, mixing in visual allusions to set my imagination free to interpret.

As if that wasn't enough, Kieslowski and cinematographer Slawomir Idziak paint a wonderfully rich and hued landscape. Visual distortions, like those through the trolley window, and through the marble was the visual embodiment of Veronique seeing what Weronika sees, but from across the vastness of time and space. Zbigniew Preisner’s delicate, but powerful, score dances in perfect harmony with Idziak’s visuals.

How could I not love this film?

How could I not love this film?

The phone rang a little while ago. The connection was poor, but I could make out the name Jonatan. I couldn't understand what he was saying, but I could tell that he was sad. I feel sad too.

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