The Double Life of Veronique (The Criterion Collection) [Blu-ray]

I've read through most of the reviews on this page. The majority of the Amazon reviewers pretty much gave a detailed and thorough summary and review of "The Double Life of Veronique", so I don't need to be redundant or rehash what these reviewers have written. The main reason why I'm writing is because I feel that Krzysztof Kieslowski was one of the most important, talented, deep, creative, artistic, soul-searching director geniuses of all time. If I had to travel back in time, I would want to meet and have conversations with Krzysztof Kieslowski, President Abraham Lincoln, Martin Luther King, Mother Teresa, Jane Austen, Mark Twain, etc. Kieslowski's films have made a major impact on my life. His films have always brought great comfort to me because he felt things so deeply and saw symbolism in a lot of things like I do. In my humble opinion, the best films in the world are the kinds that make you feel deeply emotional from beginning to end and that make you think days, weeks, months, years after the movie ends. "The Double Life of Veronique" was released in the U.S. in late 1991 when I was a freshman at an undergraduate university. I have seen artistic and thought-provoking films such as the films I saw when I took a Soviet Cinema class in college and viewed movies such as Mikhail Kalatozov's "The Cranes are Flying", Andrei Tarkovsky's "Solaris", "Stalker", and "Andrei Rublev", Sergei Eisentein's "Battleship Potemkin", and Sergei Parajanov's "The Color of Pomegranates". From that Soviet Cinema class, my favorite was Sergei Parajanov's "The Color of Pomegranates". Parajanov's film was an extraordinarily different and artistic cinematic experience. You have to feel, think, and see the symbolism in Parajanov's films. And I once had a boyfriend who said he didn't get it and said he was bored with "The Color of Pomegranates", even though I was the opposite, and thought it was a surreal experience to watch the film. You can't have a short attention span when you watch films like this. I like films that have symbolism and that make you pay attention to details from beginning to end. And you need to pay attention from beginning to end with Krzysztof Kieslowski's films. Kieslowski is my favorite director of all time because he uses every element to make you feel haunting, deep, intense emotions. I've never seen a director incorporate light, symbolism, music, objects like he does. I really do believe that this man is the most clever director. Everything means something when you watch his films. My sister and I love watching his work. "The Double Life of Veronique" impacted me so much that I bought the star rubber ball that Irene Jacob uses in the film when I was in college. Who knew that you can view the world in a different way with a star rubber ball? Who knew that Veronique would see the same buildings that Weronika saw through her star rubber ball? I can't repeat how genius Kieslowski was! It's like he thought about every scene and every prop and object he used, yet it looks so effortless at the same time. I've never seen a director put so much thought into things yet made it look so easy and like it was meant to be. After watching "The Double of Veronique" or any of Kieslowski's films, you'll never look at children's books, shoelaces, cigar boxes, cassette tapes, puppets, ring, old people walking on the street carrying bags or recycling stuff, flashes of light, or music in the same way. For anyone who has the Zodiac sign of the Gemini like me, "The Double Life of Veronique" holds special meaning. I relate to both the Polish Weronika and the French Veronique. There's a weak, fragile side to me and a stronger side to me. Right now, I'm going through some health problems, so I'm experiencing the Polish Weronika side now. Weird as it sounds, I've always felt that there was somebody else, another part of me, that was stronger and had more luck health-wise on the other side of this Earth. Even though it's tragic what happened to Weronika, her life being cut short with her heart problems, the other "twin", Veronique goes to check her heart problems in the Cardiology Department. While Weronika works hard and realizes she is suffering from heart problems she continues to sing until she dies unexpectedly while Veronique seems to sense something and uses caution and says she no longer wants to sing. The scene where Veronique stretches the shoelace on top of her ECG/EKG (heart rate) page was genius. That one scene was "symbolic" of the tie she had with Weronika - Weronika's heart failed, while Veronique's didn't. Some people have luck on their side, and some people don't. And this film perfectly illustrates that. This film provides much comfort to me because it's like Kieslowski is telling us that we all are going to die whether young or old. We see the young Weronika die, and we see the old person walking on the street (In my opinion, Kieslowski's awareness of death approaching). In summary, we need to come to terms with the luck of the draw and the fate that has been handed to us. And that even though you have died (the Polish Weronika), a part of you (the French Veronique) lives on and the world goes on. It's because of Kieslowski that I have come to terms with some of the bad luck that happened to me at a young age which affected my health. Kieslowski's films have taught me to learn to have more peace in my life and to not fear the bad things in life. Kieslowski's films have truly taught me to not fear death and mortality. Yes, that's how amazing and important Krzysztof Kieslowski was. Irene Jacob does an excellent job in this film playing the dual roles. And Zbigniew Preisner does an amazing job with the music as usual. I love how Kieslowski has worked with Irene Jacob and Zbigniew Preisner in more than film. It shows how loyal and trusting he was. I truly believe this world would be a much better place if more people watched Kieslowski's "Three Colors Trilogy", "The Decalogue" series, and "The Double Life of Veronique". I can't repeat enough how genius and awesome Kiewslowski was! If my memory is correct, when I saw the movie "Blue", Juliette Binoche's character moves out of the house, and carries a box that is holding the blue glass ceiling fixture from her daughter's room, and the box says "Blanco", meaning the color "White", which was the next film in the trilogy. In the movie "Red", the old, retired judge lives alone and made the wrong romantic choice when he was younger. The young judge in the movie is going on the same path as the old judge by falling for the wrong woman and fate intervenes and he is with the right woman, Irene Jacob. The old, retired judge then finds some peace seeing the young judge with the right woman. In a way, you can find parallels in "Red" and "The Double Life of Veronique". Life didn't turn out perfect for Weronika or the old, retired judge, but there is peace found when better luck and better choices are made from Veronique and the young judge's side. In a way, you feel complete when you watch Kieslowski's films. He shows you what it's like on both sides of the spectrum. He shows you what it looks like to take one path and what it looks like to take the other path. Anyways, I strongly and highly recommend "The Double Life of Veronique" and any film that Krzysztof Kieslowski has ever made. I really mean it when I say that you're really missing out if you haven't watched or bought one Krzysztof Kieslowski film. I have truly become a better human being knowing that Kieslowski had true empathy and understanding about humanity and the true, deep, important meaning of life. For instance in "Red", the young, Irene Jacob, works in the end harmoniously with the old, Jean-Louis Trintignant. You see Irene Jacob help an old person recycle in "Red". In a way, Kieslowski was sending the message that both the old and the young can help and learn from each other. And I feel that many people will truly become enlightened human beings after watching any of Kieslowski's films.

Kieslowski's The Double Life of Veronique is a unique film that's quite difficult to explain if you haven't see it. The story follows two women: polish singer Weronika and french teacher Veronique. While both don't know about the existence of the other, they share a mystical connection that's reinforced by the use of colors, filters and music. Both women are played by Irene Jacob which is superb in the dual role. Contrary of what the title suggests, this is not a mystery thriller about the women finding each other. No, this film is about loss, liberty, freedom, duality, love, destiny and more. Kieslowski shows us a surreal connection that are reinforced by beautiful shots. This film is more about feeling than understanding. When you watch it, you experience a diverse of emotions even if you don't quite understand what's going on. Never has been a film like this one before or after and only reinforces the fact that Kieslowski was truly a unique director. Veronique is a beautiful, superb film. A classic. Video & Audio Veronique comes to BD courtesy of Criterion and as you might expect, the results are superb. The image is immaculate boasting well defined colors, strong contrast and amazing detail. There are no signs of damage, artifacting or any other compression issues. A spectacular transfer. Likewise, the 2.0 DTS-HD MA is pretty strong with no signs of hiss or damage. Dialogue and music is always clear and directionality is well done. A great audio presentation. Bonus Features Veronique comes with a great assortment of bonus features: First you have an interesting audio commentary by Annete Insdorf which is an expert on Kieslowski. Then you have four short films: The Musicians, Factory, Hospital and Railway Station. The first one was directed by Kieslowski's teacher and the other three were done by Kieslowski himself. They are very special treat and should not be missed. Then you have Dialogue with Kieslowski which is a long interview with the director that is mixed with behind the scenes footage from Veronique. Another must see!! Then you have an interesting documentary about Kieslowski's early years and how he became the famous director he is now. Then you have three great interviews: one with cinematographer Slawomir Idziak, the other with composer Zbigniew Presiner and the last one with actress Irene Jacob. Also you have the US ending wich is a little longer but doest not add much to the film. A booklet is also included which includes an essay by scholar Jonathan Rommey and a long interview with Kieslowski about the making of the film. It's a must read and helps you understand better the movie. Closing Thoughts The Double Life of Veronique is undoubtebly a modern classic and a must see for everyone. This BD set is amazing boating truly amazing video and audio and offering a lot of quality of bonus material. This set comes Highly Recommended!!!

"The Double Life of Veronique" [1991: Krzysztof Kieslowski, Director; starring Irene Jacob, Best Actress Award, Cannes Film Festival 1991] is a metaphorically rich and haunting drama. This beautifully filmed story parallels two musically gifted young women [both played by Irene Jacob] with the same first name [Weronika [Polish] / Veronique [French]], mirror images of each other, born on the exact same date in different countries [Poland/France], suffering from like physical frailties, with similar possessions/character traits, who are total strangers whose paths cross briefly only once. Yet each senses the presence of an "unknown other", an overwhelming impression of "not being alone in the world". The subtle affect that these women have on each others' lives - unknowingly and at a distance -- is hauntingly reinforced by the "dreamlike" cinematic attributes of the film. The premise of "The Double Life of Veronique" is that there are undeniable, irrepressible, conscious and subconscious connections and intersecting forces in life that impact us all - transcending and defying distance, time, culture and conventional reason. There are concentric subplots that emanate from this central story involving various lovers [one is an accomplished, but manipulative puppeteer who creates 2 more "Veroniques" in the form of marionettes], significant emotional events that turn the course of lives and causing individual stories to dissolve/meld into others, strong parental bonds and familial grounding, the power of music/art as a life catalyst. The gold light that permeates this film, occasional blurred imagery of memory flashbacks and the sequences with the "mariposas de luz" [flickering butterflies of light from mirror reflections] truly conjure a dream-state aura that at times borders on the supernatural. The various symbolic threads in the film [death/renaissance, kaleidoscopic perspectives on life, the two young women as political emblems of the European community, the poetic symbolism of a ballerina puppet who transforms into a butterfly, etc.] rock the collective unconscious of the viewer - allowing the imagination to wander. The musical backdrop for the film serves as a leitmotif that links both the Polish and French sequences with an indomitable spirit and awe. "The Double Life of Veronique" pre-dates Kieslowski's Red, White and Blue Trilogy [1994] - and could easily be re-titled "Gold" in the director's creative alchemical spectrum of films. In interviews, Kieslowski revealed that he created different endings for the film for different cultural audiences - further reinforcing the "multiple" dimensions of his concept. I found the film to be sensorially and thematically stunning - and the acting superb. If you don't mind reading subtitles, or already understand Polish and/or French, appreciate this type of out-of-the mainstream, esoteric genre, and don't have the compulsive need to have every question explicitly resolved - I highly recommend this film.

The Double Life of Veronique (1991) is in the traditional Kieslowski mold of symbolism, mystery, irony, and artful imagery. This film could pass for a thinly-veiled sci-fi labeling. What I love about this film is its willingness to be something strange and surreal, while maintaining its elegance and believability overall. With artful classical numbers, coupled with an unusual color tint to the settings, the film is slow, subtle, yet powerful. Some of the musical numbers are extremely powerful in their presence and and impact. In some ways, the film is haunting in its tone. Irene Jacob is perfect in her role, as she exhibits emotion extremely well, and the audience is with her. While watching this film, one gets the sense that they're trying to solve a riddle by asking what certain things mean, whether they're objects, images, or even the strangely-tinted colors throughout. Overall, this is an enjoyable film that's a table setter for Kieslowski's next work, the brilliant Three Colors trilogy (Blue, White, & Red). This blu ray is an excellent transfer from The Criterion Collection, with a clear picture and crisp sound. The special features are good, and I also enjoyed the 40-page color booklet included with the blu ray. Overall, an awesome Criterion release!

This is the first Kieslowski film I watched, through YouTube (now removed), to which a video of the Dutch soprano Elly Ameling singing French composer Gabriel Faure's Vocalise linked (that one still exists). As with Faure's music, The Double Life of Veronique is in every bit as powerful, open-ending, and a little intangible. It is a film that leaves you wonder and think, with perhaps a slightly altered (or, say, more attentive) sense of life and our surroundings. After deeply impressed by subsequent viewing of Dekalog and reading Kieslowski on Kieslowski, I'd thought that the Double Life might lose a bit of its earlier impact on me due to its purely artistic inclination and lack of reality. Well, no less, now that I've re-watched the film through this Criterion Edition. Cinematographer Slawomir Idziak manipulates filters again after successfully applied them for Dekalog V (you will marvel at what a difference they made once you see the bonus make-of footage, naturally unfiltered), while Aleksander Bardini plays the role of the idiosyncratic conductor after being a worldly lawyer in No End and a deadpan doctor in Dekalog II, still wonderfully (this time he's no savior though). After a span of time and back-forth comparison, I feel that the Double Life is indeed Kieslowski (and Piesiewicz)'s leap from Dekalog, from fundamentals underpinning life up to pure artistry in which something a little beyond reach manages to be conveyed. Incredible. As I'm jotting down these thoughts, picking up one of the two glass balls on my desk and holding it between fingertips, seeing through, I suddenly realized that it'd been there for this moment, had it?

Star Irene Jacob is not just beautiful, but a great actress. We've always heard the phrase "every film frame a painting," and this film is one of those rare ones that truly ascends into that realm. This is a slow burn film with great character study, not much dialogue, but many brilliant yet subtle facial expressions and body movements, gazes, emotion with eyes. Pure art, from script to acting to cinematography.

One of the great pleasures of my life has been watching the films this artist left us. The tender and thought-provoking artistic images (the film begins with one child discovering the stars, the other a leaf), the puzzles that can lead to light bulb moments ("so they're Doppelgangers, are they?), intensely personal intimacy (the rain scatters a chorus while one girl continues to sing) mixed with wry detached humor (was that a flasher?), the admirable moral health of the filmmaker in moments that bring everything back down to earth (I call them "Kieslowski moments"), and above all, of course, the very human feelings behind his work. This film is not as tightly constructed as the Three Colors films, but all the artist's great strengths are on display for those who enjoy them, even if, for some, at a too leisurely pace. I admit I find the confusion of some viewers greatly amusing. "This filmmaker has mastered the art of the feature length perfume commercial." LOL. A nice demonstration, I suppose, of what the French call "Cartesian" (as opposed to "Pascalian"), and what C.G. Jung called "Dominant Thinking" (as opposed to "Dominant Feeling"), types.

Intriguing idea rendered with beautiful cinematography and music. Kieslowski's obsession with glass seems even stronger in this film than in the others that I have watched in this particular marathon. (I still have the Three Colours Trilogy to go). The only thing which stops me giving five stars is probably a stupid idiosyncrasy of my own. I have no problem at all with the mystical nature of the doppelganger idea. However, I have a big problem in accepting the romance with the puppeteer. It gets set up nicely: a certain charm and attraction at the school show and the amusing cigarette incident. But he then turns into a stalker and all my guts say this should scare her, rather than fascinate her. If we accept (and I found this hard to do) the fascination as a manifestation of the sixth sense she discusses with her father, why does she flee from him in the station cafe? Further, having fled from him, why does she allow him soon after into her (refuge hotel) bed, both for sleep and for sex? I don't recall this troubling me when I first saw the film, but it overhung the entire final part of the film for me on this DVD viewing.

Zwei Leben? "Zwei Leben" ist ein Film über das Leben einer Frau, die als Stasi-Spionin arbeitete und später ein glückliches Familienleben führt, bis sie ihr früheres Leben wieder einholt, wunderbar gespielt von Juliane Köhler. Zwei Leben führt in "Belle de Jour" Cathérine Deneuve nicht hintereinander, sondern paralel, als Arztfrau und als Hure, ein Doppelleben. Zwei Leben der Veronika beschreibt Krzystzof Kieslowski, aber Veronika ist nicht eine Frau, wir erleben die polnische Sängerin Weronika und die Französin Véronique, deren Leben sich nur einmal für einen Augenblick überschneiden, als Weronika in Warschau an den Rand einer Demo gerät, ihre bei einem Zusammenprall verstreuten Blätter wieder aufsammelt und dann auf dem Platz steht, während Véronique neben und später aus einem Reisebus die Szenen der aufgelösten Demonstration fotografiert, ohne Weronika wahrzunehmen, während wir den Eindruck erhalten, daß die Polin ihre französische "Namenscousine" durch die Scheiben des Busses mehrfach sieht. Beide Frauen (von Irène Jacob fantastisch verkörpert) sind am gleichen Tag geboren und sehen sich sehr ähnlich. Ist dies und dieses einmalige Treffen bzw. diese Überschneidung der Lebenslinien alles was die beiden Frauen gemeinsam haben??? Weronika hat eine goldene Stimme, sie ist an eíner Musikschule gewesen, hat aber keine eigentliche Ausbildung als Sängerin. Von der Mehrheit einer Jury wird sie dennoch erkoren, eine Hauptrolle bzw. den Solopart in einem Konzert zu bekommen. Zu Proben war sie auch unterwegs, als sie gemeinsam mit Véronique auf dem Platz war und fotografiert wurde. Bei der Premiere, bei der sie in Begleitung eins Symphonieorchesters und Chores singt, passiert, was sich vorher schon durch wiederholte Schmerzzustände im Brustkorb andeutete : sie bricht tot zusammen. Bei der Beerdigung sehen wir (sieht Ihre Seele aus dem offenen Grab?), wie Erde herunterkommt, bis das Bild schwarz wird, der Sarg bedeckt. Vèronique verbringt eine traumhaft schöne und traumhaft schön dargestellte Liebesnacht mit einem wiedergetroffenen Kommilitonen, nach dem Akt ist sie nachdenklich, irritiert, sie hat das Gefühl, es fehle etwas. Sie lehnt es ab, daß er bei ihr bleibt. Wir dürfen annehmen, daß dies im Moment des Todes der polnischen Sängerin geschah. Sie wird nicht Sängerin, sondern Musikerzieherin, sie verliebt sich in einen Puppenspieler, der mit wunderschönen Stabfiguren eine Ballerina zeigt, die stürzt, liegen bleibt, von einer zweiten Stabpuppe mit einem Leichentuch(?) bedeckt wird. Diese Szene und der Stabpuppenspieler sind genial, berührend, das junge Publikum bewegt, eine Schülerin verbirgt traurig ihr Gesicht an Véroniques Schulter. Doch die Puppe erhebt sich langsam wieder, beginnt mit noch unbeholfenen Bewegungen, dann wird das Tuch abgestreift, und die schöne Ballerina hat sich kaum verändert, neu sind "nur" ein Paar Flügel, nicht wie ein Engel, sondern eher manchen Elfenabbildungen entsprechend, Schmetterlingsflügel. Die Bekanntschaft mit dem Puppenspieler, der sie mit verschiedenen Utensilien schließlich in ein Bahnhofscafé lockt, endet enttäuschend. Nachdem er ihr zunächst einen Schnürsenkel geschickt hat, den sie geschlängelt über einen EKG-Streifen mit bedrohlichen Rhythmusstörungen legt und dann glattzieht, zeigt er ihr auf einem Foto aus der Sammlung ihrer Urlaubsbilder- sie selber! Sie erklärt, sie sei es nicht, da sie das Foto selber geschossen hatte, als er ihr dann beichtet, sie sei nur ein Teil eines psychologischen Experiments, er wolle ein Buch schreiben mit dem Titel "Die zwei Leben der ? " , weint Véronique. Sie hat ihre Zwillingsseele oder Seelelzwilling verloren. Was können oder sollen wir uns bei diesem in traumhaft schönen, oft goldgelb eingefärbten Bildern und Szenen gedrehten Film denken? Vielleicht erst einmal gar nichts! Kieslowski stellt in dem der arte-Edition beiliegendem umfangreichen Booklet klar, es sei ein Film über Emotionen und sonst nichts. Handlung gebe es nicht.. Wir sollen seine Figuren lieben oder hassen. Gelingt ihm das? Das muß jeder für sich selbst entscheiden. Man mag den Film wegen der Handlungsarmut langweilig und ohne Aussage empfinden, ich fand den ersten Teil mit dem Schicksal der Weronique einfach zunächst beglückend und berührend. Sie liebt Musik, singt spontan bei der Probe eines Männerchores eine passende Sopranmelodie, sie hat eine traumhafte Stimme und ist absolut tonsicher. Ich freute mich, daß sie die Solopartie bekam, änstigte mich bei den Brustschmerzszenen und erwartete tatsächlich mit Bangen den Tod, der ja auf dem Cover der DVD angekündigt war. Die wunderbare Musik von Szbigniew Preisner, die sicher mit zu der einmaligen Atmosphäre beitrug, die phantastische Stimme und der strahlende Ausdruck der wirklich bezaubernden Irène Jacob ließen bei mir kein anders Empfinden als Trauer über ihren Tod zu. Versöhnte der Teil des Filmes über das Schicksal der Véronique mit der tragischen Figur Weronika? Nein, auch sie wird, zumindest bis zum Ende des Filmes, nicht glücklich. Hat der Film eine Aussage? Das ist das Thema, über das man sicher angeregt nachdenken und diskutieren kann. Man kann über die Macht des Schicksals , über die Raum (und Zeit) überschreitende Macht der Seele diskutieren, über immer wieder geschilderte Parallelitäten im Verlauf des Lebens von eineiigen Zwillingen, die schon früh voneinander getrennt wurden, von Frauen, die Bauchschmerzen bekommen, wenn die Zwillingsschwester in den Wehen liegt, von Menschen , die einen Schreck oder ein schlechtes Gefühl bekommen, wenn ein geliebter Angehöriger auf der anderen Seite des Globus verstirbt, Phänomene, die immer wieder beschrieben, aber bishrer nicht bewiesen sind, und vielleicht auch nie bewiesen werden können, wenn sie durch Kräfte , die wir vielleicht auch nie ergründen werden, verursacht sind. Da geht es um die Frage der Religion, des Glaubens an einen Gott oder eine höhere Macht, die die Geschicke des Weltalls unabhängig von den uns bekannten Naturgesetzen lenkt. Gibt es überhaupt eine Seele? Große Teile des Gehirns steuern unseren Körper und empfangen Signale. Die motorische Hirnrinde läßt uns Bewegungen ausführen, sie erhält den Befehl dazu vom Frontalhirn, das "Gehen" befiehlt. Wer gibt dem Frontalhirn den Impuls, Gehen zu befehlen. Ist das irgendeine Hirnstruktur oder das Zusammenwirken mehrerer solcher, oder ist es eine nicht an organische Struktur gebundene Kraft oder Macht, die Seele? Können Seelen miteinander kommunizieren, tun sie das, und wenn ja, bemerken nur manche empfindsame Menschen die Kommunikation von Seelen, oder gibt es eine Universalseele , die alle durchdringt, in unterschiedlichem Ausmaß? Ein unerschöpfliches Thema, eine Diskussion, die vielleicht bis an das Ende der Menschheit, als möglicherweise nur kurzer Abschnitt der Evolution, nie beendet wird. Kieslowski sagt, er habe sich gefreut, als ein junges Mädchen ihm sagte, daß sie nach dem Film nun wisse, was Seele sei, schon dafür habe sich der Film gelohnt. Dies widerspricht eigentlich der Aussage, der Film sei nichts als Spiel mit Emotionen, es sei denn, er setzt Emotion als Funktion der Seele gleich. Setzen wir einmal voraus, daß der Film "nur" Emotionen freisetzen will, und egal, woraus Emotionen jetzt bestehen. Bei mir hat dieser Film dies geschafft wie noch kein Film auch nur annähernd vorher. Aus diesem Grunde ist "Die zwei Leben der Veronika" traumhaft, genial inszeniert, in wunderschönen Bildern und mich tief berührender, stimmungsintensivierender musikalischer Untermalung. Der Film ist aber auch eine wunderbare Darstellung der Bedeutung und Macht der Musik, die viel mehr Bedeutung hat, als vielleicht angenommen. Tiere kommunizieren mit Musik, es wird angenommen, die menschliche Sprache sei aus Musik hervorgegangen, sie ist vielleicht das älteste Kulturgut der Menschheit, und es dürfte kaum Menschen geben, die nicht durch irgendeine Art von Musik berührt werden. Eine geschätzte Rezensentin und Kommentatorin meint, Preisners Musik mache zu 50% den Erfolg des Filmes aus, dem kann ich nicht widersprechen. Er hat öfter mit Kiesliewski zusammengearbeitet, und auch der Film "Anonyma-eine Frau in Berlin" mit Nina Hoss bezieht einen großen Teil seiner Atmosphäre aus der wunderbaren Musik. Erfreulicherweise gibt es Musik/Filmmusik dieses großartigen Komponisten auf CD. "Die zwei Leben der Veronika" ist ein, wenn nicht sogar DAS MEISTERWERK der Filmkunst. Dem früh verstorbenen Krzysztof Kiesliewski gehört ein Denkmal gesetzt. Er muß in einem Atemzug mit Alfred Hitchcock unf Orson Welles genannt werden. Doc Halliday

'The Double Life of Véronique' is a beautiful, enigmatic and beguiling work in which director Krzysztof Kieslowski explores the notions of dual identity and human intuition. Irène Jacob delivers an irresistibly alluring performance in the twin roles of Weronika and Véronique, two young women who lead separate lives in Poland and France respectively. They have many things in common, despite their different backgrounds, and one is unconsciously able to avoid the pitfalls that the other has fallen into during her life. The film boasts a plethora of mystifying, unsettling and unforgettable images. The iridescent cinematography and gorgeous colours are a feast for the senses. I felt them seeping into me. In addition, Zbigniew Preisner's haunting score lingers long after the credits have rolled ... ... ... 'The Double Life of Véronique' warrants repeated viewings. It's like one of your favourite records that you can place on the turntable whenever the mood takes you. Recommended.

Je pense que ce film, on aime ou pas... Il y a un peu deux histoires en une : d'abord, la double vie de Véronique (une Véronique française et son double polonais, avec un petit côté fantastique), puis une histoire d'amour. La bande son est très importante et très belle. La langue est d'origine : en polonais quand on est en Pologne (une vingtaine de minutes - sous-titres en français), puis français. Le deuxième DVD contient entre autres quatre courts-métrages, que je n'ai pas encore regardés.

The Double life of Veronique is a wonderful film. The idea of the plot draws us in and for each of us what we interpret the story to be may be different from each other. The director said he likes to use his film break down emotional walls to cause people to stop being the emotional "tough guy" to cause their walls to come down and let them be open. I suggest you also check out the extras on the disc as they include 3 of the director's short documentaries. Just be aware the director's second documentary called the Hospital contains scenes of reconstructive surgery and will not be for everyone. The first documentary called the Factory is a definitive take on the struggles of the directors and senior staff of a foundry and tractor factory dealing with the bureacracy and constant equipment shortages under Poland Communist regime and worth a look

Para mi la mejor película de kieslowski, vale la pena tenerla en criterion Solo contiene subtítulos en Inglés