Irène Jacob won the Best Actress prize at Cannes for her dual role as both Polish soprano Weronika and her double, French schoolteacher Véronique, in this haunting tale of identity and spiritual connections.
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If you don't fall in love with Irene Jacob while watching this film, you're almost certainly doomed to fall for the gorgeous soundtrack by Preisner, the cinematography, the yellow, green and red-saturated scenery, or the beguiling plot.
Often times, when a film presents itself as mysterious we react by becoming analytical, driven to solve that mystery. The beauty of this film is that it ultimately doesn't let us do that. Based on its premise, you would think of it as more fantastic prose than visual poetry. As it turns out, it's both and for that I think that this surprising, contemplative and lovely film is one of my absolute favorites.
“I think one of the most important things in life, that gets you through the day, is responsibility. You have to broaden this term a bit. Everyone is responsible for himself and for his life. It’s understandable. For our deeds. We pay for what we have done wrong. We feel satisfaction when we do something right. This kind of responsibility in a personal sphere is quite clear. You are conscious of it.
Tremendous preparation for the three colour trilogoy. Beautiful in it's own way and probably the best use of colour I've seen in a movie. I think a more vivid presence of music would've made this piece a bit more everlasting, but I still feel the story is pretty present.
Kieslowski is a filmmaker obsessed with chance and fate, and it has never taken more center stage than in this film. Shrouded in mystery and surrounded by an air of magical surrealism, it holds a fairy tale aura about it, or maybe more like one of a dream. It's beautiful in many ways, and the most notable is the gorgeous green and gold tinted cinematography. Deep in mystery and full of beauty.