The Double Life of Véronique is directed by Krzysztof Kieslowski in 1991. This film is one of the most aesthetic appealing films. The rich colors, unique and invigorating camera angles keeps the audiences attention throughout. The colors that were breath taking were green used to light different scenes as well as the leaf in the beginning of the film. The rich red is used in the film throughout sometimes found in set design other times as costume design. Some angles that were memorable were when Weronika is kneeling down on the side walk. The camera makes an abrupt change in point of view. Lastly, the camera inside the grave and the audience can see the dirt thrown on the camera which is a representation of the grave.
According to Doug Cummings,… Double Life is, in many ways, a passionate celebration of intuitive thinking in and of itself and the interconnectivity of emotions generated by music, performance, and beautiful cinematography. A glittering tone poem with a careful arrangement of narrative patterns and details that remain remote, it's certainly Kieslowski's most abstracted and poetic film. Whether or not it offers any deeper meaning beyond its own amber-hued surfaces probably depends more on one's interior predilections and aesthetic convictions than any explicit content on Kieslowski's part.
Another critique Jenny Jediny claims that the visualization of feeling is one of the film’s strongest aspects. Kieslowski’s mise en scene is mesmerizing in its focus on the odd, affecting minutiae of life Véronique’s actions are of note, as they provide a more concrete narrative than the plot surrounding Weronika, but Kieslowski continues to draw out the emotional complexity of Véronique’s inner self while weaving in reminders of Weronika. At the beginning of the film, Véronique played with a green leaf and its tiny veins, and she now touches a grown tree, perhaps the same the leaf fell from, and from this small history springs not only Véronique’s own past, an ever widening connection of individuality within the larger context of human experience.
This film is definitely one that has to be seen several times and even then viewers are not able to get the film in its entirety. Every part of the film seems to have a purpose and reason for being displayed or shown in the film. It is up to the audience to dissect the film and figure out the many layers involved with the piece as a whole. The film is very pure in the sense of its colors and camera angles but is very liberal in the sense of sexuality. This can and is somewhat distracting for viewers who are not use to that type of sexuality being shown. Sometimes it is harder to grasp the aesthetics of the film because of the sexual nudity within.
According to Doug Cummings,… Double Life is, in many ways, a passionate celebration of intuitive thinking in and of itself and the interconnectivity of emotions generated by music, performance, and beautiful cinematography. A glittering tone poem with a careful arrangement of narrative patterns and details that remain remote, it's certainly Kieslowski's most abstracted and poetic film. Whether or not it offers any deeper meaning beyond its own amber-hued surfaces probably depends more on one's interior predilections and aesthetic convictions than any explicit content on Kieslowski's part.
Another critique Jenny Jediny claims that the visualization of feeling is one of the film’s strongest aspects. Kieslowski’s mise en scene is mesmerizing in its focus on the odd, affecting minutiae of life Véronique’s actions are of note, as they provide a more concrete narrative than the plot surrounding Weronika, but Kieslowski continues to draw out the emotional complexity of Véronique’s inner self while weaving in reminders of Weronika. At the beginning of the film, Véronique played with a green leaf and its tiny veins, and she now touches a grown tree, perhaps the same the leaf fell from, and from this small history springs not only Véronique’s own past, an ever widening connection of individuality within the larger context of human experience.
This film is definitely one that has to be seen several times and even then viewers are not able to get the film in its entirety. Every part of the film seems to have a purpose and reason for being displayed or shown in the film. It is up to the audience to dissect the film and figure out the many layers involved with the piece as a whole. The film is very pure in the sense of its colors and camera angles but is very liberal in the sense of sexuality. This can and is somewhat distracting for viewers who are not use to that type of sexuality being shown. Sometimes it is harder to grasp the aesthetics of the film because of the sexual nudity within.
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