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Disc #1 -- The Double Life of Veronique
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Index
A Meditation on Filmmaking
Idziak/Visual Rhyming
Questioning/Music
Not Political
Bardini/Dark Humor
Zbigniew Preisner
Van Den Budenmayer
Intuition and Yearning
The Puppeteer/Transformation
A Weak Heart/Clues
Down-to-Earth/Light
Metaphysical/Documentaries
Irène Jacob
Technology
Communism and After
Heightened Perception/Versions
Unease In Romance
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Collaboration/Doubles
U.S. Ending/Uncertainty
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U.S. Ending
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Short Films
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Index
The Musicians (1958)
Factory (1970)
Hospital (1976)
Railway Station (1980)
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Disc #2 -- The Double Life of Veronique
Kieslowski - Dialogue
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Index
1966-1988: Kieslowski, Polish Filmmaker
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Slawomir Idziak
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About
Zbigniew Preisner
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About
Irène Jacob
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- Chapters
Disc #1 -- The Double Life of Veronique
1. Looking [3:49]
2. Song and Passion [5:46]
3. Train to Kraków [4:19]
4. Protest in the Square [2:26]
5. Audition [4:56]
6. Antek [4:16]
7. The Concert [4:15]
8. "I'm Quitting" [6:26]
9. Marionettes and Violins [5:11]
10. "Hang Up First" [5:00]
11. Helping Out a Friend [6:22]
12. The Puppeteer's Story [5:46]
13. Dad's Fragrances [3:32]
14. Mysterious Cassette [5:08]
15. Following the Clues [7:02]
16. Véronique Flees [4:11]
17. Hotel Refuge [:11]
18. The Contents of Her Life [3:35]
19. Véronique's Double [7:00]
20. The Return [4:12]
Disc #2 -- The Double Life of Veronique
1. Universal Themes [6:37]
2. Editing, Writing, and Casting [7:40]
3. Childhood/Documentaries [10:00]
4. Communication/Close-Knit Group [10:47]
5. Censorship/Collaboration [9:23]
6. Responsibility [8:10]
1. Communist Poland [5:24]
2. Documentary Beginnings [5:20]
3. Moral Concern [6:25]
4. Hope and Disillusion [7:49]
5. Decalogue and Epilogue [5:38]
- Features
Audio commentary featuring Annette Insdorf, author of Double Lives, Second Chances: The Cinema of Krzysztof Kieslowski
Three short documentaries by Kieslowski: Factory (1970), Hospital (1976), and Railway Station (1980)
The Musicians (1958): A short film by Kielslowski's teacher Kazimierz Karabasz
The U.S. ending
Kieslowski - Dialogue (1991), a documentary featuring a candid interview with Kielslowski and rare behind-the-scenes footage from the set of the Double Life of Véronique
1966-1988: Kielslowski, Polish filmmaker, a 2005 documentary tracing the director's work in Poland, from his days as a student through The Double Life of Véronique
New video interviews with cinematographer Slawomir Idziak and composer Zbigniew Preisner
A 2005 interview with actress Irene jacob
A booklet featuring an essay by critic Jonathan Romney and selections from Kieslowski on Kieslowski
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Directors
Krzysztof Kieslowski
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Producers
Leonardo de la Fuente
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Composers (Music Score)
Zbigniew Preisner
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Editors
Jacques Witta
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Screen Writers
Krzysztof Kieslowski
Krzysztof Piesiewicz
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Others
Cinematographer - Slawomir Idziak
Composer (Music Score) - Zbigniew Preisner
Executive Producer - Bernard P. Guiremand
Production Designer - Patrice Mercier
Polish master
Krzysztof Kieslwoski's most ravishing film is an ethereal rhapsody grounded in the resolutely sensual presence of its lead,
Irene Jacob. With its oblique story line, cryptic rhyming patterns, and focus on mood and tone, this elusive movie is more poem than narrative.
Slawomir Idziak's shimmering cinematography gives the movie a spectral sheen, perfectly conveying the rich and shifting mysteries of coincidence, fate, and human connection
Kieslowski explores. The movie bears more than a passing resemblance to
Kieslowski's final film,
"Red", yet another movie that evinces the filmmaker's obsession with fraternity, not to mention
Irene Jacob's face. Mostly captivating,
"Double Life"'s metaphysical meditation occasionally verges on silly self-absorption; at its worst, the movie's solemn search for profundities could almost be a parody of European artiness. Even at its most dubious though, the movie is unfailingly alluring; its golden, lambent beauty remains rapturous throughout. Lyrical and elliptical, the movie can also be read simply as an ode to its lead:
Jacob's Veronique is clearly an idealized projection of feminine perfection, so perfect that
Kieslowski had to make two of her. Muse and artist were rewarded equally upon the film's release, as the movie won
Jacob a Best Actress award at the 1991 Cannes Film Festival and garnered
Kieslowski the best reviews of his career at the time. ~ Elbert Ventura, Rovi
