The Double Life of Veronique 4K 1991 FRENCH

The idea to make a movie about Veronica was with Keslevski since the time of the ninth novella of the Decalogue. That singer became the prototype of Veronica. It was not possible to shoot this movie in Poland, and the author realized the idea in full already in France.

As is always the case with a Pole, the cinema is very beautiful, some shots are simply mesmerizing with their beauty. And of course everything makes sense. And with a double one, as the name suggests. Keslevsky shows well that everything in the world has its other side, a kind of duality. And if the French Veronica lives in a wealthy country and everything is fine with her, then the Polish one, alas, is not. Even having found her own in life, and this is singing, she suddenly dies.

Since then, the French Veronica begins difficulties in life. She rushes from side to side, finding no peace anywhere. It seems to me that with the death of the Polish alter ego, the soul of the French woman left. The French Veronica has become restless, as the Polish Veronica once was. By the way, this is very clearly visible in one frame, when the French Veronica looks at the photo of the Polish Veronica.

Everything in our world is far from ambiguous and has a downside. Of course, there are also political allusions. Broken Poland, which suffered so much grief throughout the twentieth century that a well-fed France could not even be dreamed of in terrible dreams (this is emphasized by Kieslowski in the scene with the manifestos). This is symbolized by each in its own way, both Veronicas. They seem to show the difference between the countries of the socialist camp and the Western world. Their dissimilarity, difference.

So is Keslevsky. In the film, the Polish Veronica dies, while the French one remains alive. Kieslowski left Poland after the Decalogue, returning only to shoot Bely. Therefore, for the Polish cinema, he died, remaining alive for the French. But without a soul, nothing. Therefore, being outside the Motherland, the Pole continued to put into his foreign creations those truths that were present in him in the Polish period of his work. And judging by the last shots of Veronika, Keslevsky did not lose his soul.