the double life of véronique meaning

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. 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. The Double Life of Veronique, written and directed by Kryzysztof Kieslowski, is a film bathed in a subtle ether of the uncanny, none more haunting than the twinning likenesses of the protagonist(s), the Polish Veronica and the French Veronique.Veronica, a luminous young woman with an ethereal singing voice, who seems to inhabit a separate sphere, sees her double, or Lacanian semblant … How else to explain the ability of a French-Polish film with a nonsensical plot premise . Representations of Masculinity in Gus Van Sant’s My Own Private Idaho, The Simplistic Beauty that is Richard Linklater’s Dazed and Confused, The Cook, The Thief, His Wife and Her Lover, “I like the dark, it’s friendly” – a Look at the Classic, Cat People (1942). The scenes have a naturally dimming, vacuuming effect on the viewer. Yet overall, the golden filtering transcends any obvious motivation. It’s the same sort of effect you feel when you’ve been exposed to harsh light and your eyes are struggling to adjust to a much dimmer setting. It is an anchored ethereality bathed in ruby reds and emerald greens—evocative of an intangible interconnectivity and sinuous sensuality. We see an exact replica of her, Veronique, placed into a totally separate context. It does this above all with the face of Irene Jacob, who plays a Polish woman named Veronica, and a French woman named Veronique. 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. 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. Nothing more.” Yet he also confessed that he aspired to those moments when a film manages to escape from literalism. And both women, like Jacob, literally come under the authority of the father figure who is Kieślowski himself—making both the actress and her twin characters disturbingly akin to the Véronique puppets seen at the end. In another version, this intrigue disappeared completely. While alive, Weronicka slowly becomes aware of her potential through the same type of shared resonance Veronique feels so strongly later in the film. It’s so instantaneous and elusive that we are apt to dismiss its presence as something illusory. Double Life opens with distorted images of the world, and two separate commands to examine it closely, to focus on the details and pay attention. Veronique adalah seorang wanita Perancis muda yang cantik yang bercita-cita menjadi penyanyi terkenal; Weronika tinggal di Polandia, memiliki tujuan karir yang sama dan terlihat identik dengan Veronique, meskipun keduanya tidak terkait. Weronika spots Véronique on the bus and has only a few moments to stare in wonder as the bus drives away. Weronika, the young Polish woman, is by chance—after singing impromptu at a friend’s rehearsal—offered an audition and ultimately a solo part in a concert. At every separation between objects there runs a barely-perceptible nebular glow. 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. 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 Veronique (1991) is in the traditional Kieslowski mold of symbolism, mystery, irony, and artful imagery. illustration by Tony Stella. The Double Life of Véronique:Through the Looking Glass. Her naivete convinces her that his offputting romantic gestures are a sign of an idealized sort of love. The Double Life of Véronique La double vie de Véronique Tuesday, March 24, 2020 4pm . The Double Life of Véronique is a French and Polish-language film directed by the great Polish director Krzysztof Kieslowski. Irène Jacob Weronika/Véronique. Krzysztof Kieślowski’s The Double Life of Veronique captures a universally-shared, fleeting feeling and crystallizes it into a movie. Equally self-reflexive is the film’s visual theme of containment and filtering. 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. Nearly eight years later, the Polish director remains one of my idols, he is a true master in my eyes. It’s one of those feelings we all have a dim awareness of somewhere in the periphery of our consciousness but the moment we try to grasp at it, its meaning escapes us. The narrative, as it develops, is anything but simple. Veronica seems poised to rise again, along with many other V names, and with it may follow this more romantic French version. Playing detective, Véronique traces the tape to Paris’s Gare Saint-Lazare, where she finds Alexandre waiting for her. . 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. Its opening image is of sky and earth reversed, seen by Weronika as a child, held upside down by her mother. Via this mirage, the movie lays bare a feeling which is encrypted within all of us. 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. She talks in the same dreamy, entranced tones, as though she’s captivated by some indistinct feeling she can’t quite put their finger on. The first “segment” follows Weronika, a nymph-like twenty-something year old who suddenly dies mid-way through a concert recital. . But then, the Alexandre intrigue is explicitly about contrivance. 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. Georgia Brown declared in the Village Voice, “Anything I say about [the film] is merely a labored minuet danced around my own ecstatic response.” Nigel Andrews of the Financial Times commented, “I believe we are being hypnotized in The Double Life of Véronique . The moment we attempt to translate this feeling into concrete terms, its meaning disintegrates. 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. 98 min. 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. What is there to discuss when you don't even know what happens, or rather what happens is secondary to what it evokes? It’s saturated with an ambient amber glow, as though the scenes are being filtered through a stained-glass window. It’s so instantaneous and elusive that we are apt to dismiss its presence as something illusory. 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. Her performance won her the best actress award at Cannes. Yet in the long run, cinema culture in the nineties proved to be more receptive to literalism than to any suggestion of metaphysical resonance. Finally, the Double Life of Véronique we have is one among a multitude of possible versions. affirms the reality of this transient corner-of-the-eye feeling and enlarges upon it until it becomes the most real and all-encompassing thing we experience. It is the sense of pervasive trompe l’oeil, of the conjurer’s—rather than the puppeteer’s—art, that makes the film endure as a spellbinding experience, as well as a perplexing one. Starring Irène Jacob, Philippe Volter, Claude Duneton. She falls in love with an ominous stalker who graces her with creepy tokens of affection. With Irène Jacob, Wladyslaw Kowalski, Halina Gryglaszewska, Kalina Jedrusik. 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. 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. Veronique is as impressionable, delicately-feeling, and youthfully wide-eyed as her doppelgänger. There’s an inescapable feeling of being in two places at once. It is about those moments that defy our sense of reason, while they prompt us to rely on an innate intuition. The two women do not know each other, and yet they share a mysterious and emotional … As The Double Life of Veronique turns more incandescent and disjointed, it becomes clear Kieślowski isn’t interesting in the specific machinations of narrative or the idea of forward momentum, but of hypnotic stasis in a glowing temporal space. Directed by Krzysztof Kieslowski. This film could pass for a thinly-veiled sci-fi labeling. 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. We don’t become emotionally invested in her, not because we don’t have enough time to but because she’s more of a silhouette than a fully-evolved character. Via this mirage, the movie lays bare a feeling which is encrypted within all of us. 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. to enthrall and enchant us like no European film in recent history?” As Andrews enthusiastically but warily suggests, Kieślowski’s film has the capacity to mesmerize. IJ. Krzysztof Kieślowski’s The Double Life of Veronique captures a universally-shared, fleeting feeling and crystallizes it into a movie. The underlying music has the same ghostly, elegiac quality as wind moaning through a ruinous landscape. The colors merge and dissolve into one another. Nonton The Double Life of Veronique (1991). The opening scene of a very beautiful and critically-acclaimed film: The Double Life of Veronique (1991, Krzysztof Kieslowski). The Double Life Of Veronique is a sensual experience first and foremost, and though we’re going to get into its symbols, politics, and metaphysics, Kieslowski gives the impression that he doesn’t want viewers to get stuck on any of those matters in the course of actually watching the movie. PV. 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? This film could pass for a thinly-veiled sci-fi labeling. So in The Double Life of Véronique, perhaps, we are not dealing with the “mystery” of the communication between two Véroniques but with one and the same Véronique who travels back and forth in time. It’s one of those feelings we all have a dim awareness of somewhere in the periphery of our consciousness but the moment we try to grasp at it, its meaning escapes us. One of the most striking debuts in film history, Djibril Diop Mambéty’s unconventional picaresque forged new aesthetic paths for African cinema with its dreamlike narrative, discontinuous editing, and jagged soundscapes. The Double Life affirms the reality of this transient corner-of-the-eye feeling and enlarges upon it until it becomes the most real and all-encompassing thing we experience. Her death isn’t felt. The moment we attempt to translate this feeling into concrete terms, its meaning disintegrates. This essay was originally published in the booklet accompanying the 2006 DVD release of The Double Life of Véronique. Véronique (Irène Jacob) is a French woman on vacation in Warsaw.She unknowingly takes a photo of her Polish double Weronika (also Jacob). It ends with Veronique, in a moment of melancholy, touching a tree, and examining its bark—again, … What I love about this film is its willingness to be something strange and surreal, while maintaining its elegance and believability overall. As emotional beings, Weronika and Véronique are at once sexual and desexualized. For years, he led a double life, shacking up with another women while his family remained in the dark about everything. At such moments, the film’s precarious realism collapses, and a sense of the mystical or metaphorical imposes itself. The Double Life of Veronique (1991) is in the traditional Kieslowski mold of symbolism, mystery, irony, and artful imagery. Kieślowski and director of photography Sławomir Idziak consistently use a yellow-green filter that fills the world with a seemingly benign, autumnal glow. Such images make the two women appear less like adults than like presexual children, subject to the authority, influence, and manipulation of older men: Alexandre the puppeteer, two beloved fathers, Weronika’s venerable conductor. She’s so blinded by her newfound feelings that she doesn’t interpret the stalker’s obsessive acts as symptoms of perverted urges. It evokes. She still has a childlike attachment to her father, and she’s easily enticed and manipulated by what lies beyond his protective paternal boundaries. Kieślowski inarguably achieved his desired escape from literalism in The Double Life of Véronique and Three Colors. 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. The Double Life of Véronique is an unforgettable symphony of feeling. Kieślowski denied that there were any metaphors in his films: “For me, a bottle of milk is simply a bottle of milk; when it spills, it means milk’s been spilled. She also receives a number of mysterious packages, including a cassette of a sound collage. In Blind Chance (1981), three possible outcomes of a banal incident lead a man’s life in three entirely separate directions. An enigmatic tale of an uncanny bond between two strangers that confounds them. Offended, Véronique walks out, but he follows her, and they become lovers. Kieślowski claimed that this choice of color was a matter of visual contrast, determined by the dominant gray of the film’s locations, Kraków and Clermont-Ferrand. At about thirty minutes, this section is extremely compact and acts more as a preface for the following one. I first watched Krzysztof Kieslowski’s The Double Life of Véronique during the beginning of my undergraduate course in Film Studies. Kieślowski, too, is thinking about other things: like Weronika, he is literally facing west. Kieślowski’s strategy is not to define the indefinable but to evoke a mirage of it. With novelistic intimacy, Rahmin Bahrani’s follow-up to Man Push Cart illuminates the economic desperation hiding in plain sight in contemporary America. Drawing on influences ranging from classic Hollywood to cartoons, Jacques Rivette’s uncategorizable masterpiece plunges viewers into a world shaped by the friendship and imagination shared by two soul sisters. 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. 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. They don't know each other, but their lives are nevertheless profoundly connected. The resultant effect is an ominous, suspended-between-two-worlds feeling of dysphoria. While the visual stylization and the European setting are new, the film continues a thread of what could be seen as mysticism, or alternatively, as quasimystical narrative manipulation, in the director’s work. 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. The Double Life of Veronique (French: La double vie de Véronique, Polish: Podwójne życie Weroniki) is a 1991 French-Polish-Norwegian drama film directed by Krzysztof Kieślowski and starring Irène Jacob. It resolves itself out of thin air and then trails away. And it’s narrative isn’t so much circular as elliptical: it doesn’t bend back around into itself. . Cast & Crew. This moment might be seen as nineties cinephilia’s turn away from the poetic-art-cinema tradition exemplified by Kieślowski’s last films. 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. Alexandre has written a story about a thread, and reels Véronique in on a thread of intrigue, sending her a tape that is effectively a sonic script, or a score, for their eventual meeting. History may have sidelined The Double Life of Véronique, but that is not to say the film has not lasted. 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. The Double life of Véronique is not a film that allows easy description, it doesn't seem to fit in to any genre or category, it is a film that must be experienced under it's own terms, as a serious, hypnotic work of art. Imagine you see someone who looks exactly like you but there is no connection whatsoever – or is there? It thrives within the hair-line fracture that separates Weronika and Veronique’s lives. lead a double life To keep part of one's life hidden, especially a part that would not be approved of. 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. If you do, they seem trivial and stupid.” Put simply, the film explores this premise: two young women, one French, one Polish, are for all intents and purposes one and the same, and yet irreducibly different. This piece was originally published in the Criterion Collection’s 2006 edition of The Double Life of Véronique. The film is bifurcated into two parts, although upon first viewing one might not be able to see the dividing line. The Double Life of Véronique is remarkable for sustaining a delicate com­bination of simplicity and unfathomable complexity—or at least the impression of such complexity. The Double Life of Véronique is a film that's so hard to discuss because it is a film so centered on mood. The movie is about a mother and father who lead a double life as secret agents. An overwhelming molten melancholic feeling saturates the environment. Kieślowski defined the film’s subject matter to interviewer Danusia Stok thus: “The realm of superstitions, fortune-telling, presentiments, intuition, dreams, all this is the inner life of a human being, and all this is the hardest thing to film.” But he recognized the riskiness of the undertaking: this story, he commented elsewhere, “deals with things you can’t name. Suffering from heart problems, she dies in midrecital, shortly after seeing her doppelgänger in a Kraków square. Watch the film online: iTunes; Amazon; Dir. Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. Directed by Krzysztof Kieślowski • 1991 • France Starring Irène Jacob, Philippe Volter, Sandrine Dumas Krzysztof Kieślowski’s international breakthrough remains one of his most beloved films, a ravishing, mysterious rumination on identity, love, and human intuition. Jonathan Romney writes a weekly review column for Filmcomment.com. Written by Kieślowski and Krzysztof Piesiewicz, the film explores the themes of identity, love, and human intuition through the characters of Weronika, a Polish choir soprano, and her double, Véronique, a French music teacher. And eerily enough, the relationship doesn’t strike one as demented–Kieślowski manages to create such a convincing movie that at times we lapse into feeling the relationship to be warm and endearing, in a way. 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. Are being filtered through a concert recital moments when a film that 's so hard to discuss when you n't... Other, but their lives are nevertheless profoundly connected history may have sidelined the Double Life of Véronique: the! We experience of my idols, he led a Double Life of Véronique and Three Colors more! 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