There are two girls, both named Veronica, they look the same, they have the same hobbies, they are both in their cardamom years, one lives in Poland and the other lives in France. Veronica from Poland was a soprano singer. One day, she fell to the ground and died of a heart attack in order to make a high pitch on stage. The moment she died, Veronica, who was having sex with her boyfriend in France, suddenly felt heartache. She didn't know why she felt distressed, but she realized her loneliness, like the loneliness of losing a loved one. She once said to her father: I have a weird feeling, I don't think I'm alone, I'm not alone in this world. His father replied: Of course not. But now she feels more alone than ever. Even love cannot resist this loneliness, like a man has his heart taken away.
Later, she came across a puppet show, and on the small stage, you could see the hands of the puppet artists around the puppets. It was a beautiful bride dancing, then dying, and then being put back into a small box by the entertainer. When it was opened again, the bride grew a pair of beautiful wings and danced gracefully.
Veronica of France suddenly fell in love with the puppet artist, she followed and inquired, thinking she lost. She told her father about this feeling of love, and said that she did not know who he was, only that he was performing puppet shows.
Later, Veronica of France began to receive mysterious gifts. At first, it was a shoelace. When Veronica of Poland was about to make a high-pitched voice, it was a shoelace that was clenched in her hand. Ronica's life; then a book, full of fables; then tapes... a lot of Polish Veronica's little things. She felt that she was getting closer and closer to her love, and finally she found the date through the postmark on the envelope.
But she chose to escape, but without success. They still met and fell in love. The puppeteer told her that he had been looking for her. When looking through the photos of that trip to Poland, he pointed to Veronica in Poland and said to her: This dress is good. At this time she was very surprised and said: That's not me. It was only then that she realized that they had met before, and she finally realized who had left her life and caused the loneliness she had been unable to get rid of. At that moment, she burst into tears again.
Maybe possible, maybe nothing. What does Kieslowski say? He has been emphasizing not to shoot metaphors, but he wants people to see it as a metaphor. Yes, he is clearly metaphorical, and metaphorically intelligent. This is the biggest reason why many people feel mysterious after watching it. In fact, Kieslowski used a lot of props, scenes and performances to complete this metaphor. He wanted to make the audience understand, but he was afraid that the audience would not understand. .
Is he talking about loneliness? Or soul?
No, loneliness and the soul are just appearances, the extension of his expression, and his real purpose is to tell one or a common emotion. Kieslowski himself later said that he didn't care whether the audience was immersed in the story or inspired them to analyze it, the important thing was to force them into something or move them in some way.
Kieslowski also opted for a mystical presentation, which at the beginning made people realize that the film was different. Veronica stood in the rain and sang happily, so beautiful. When the rain fell, the companions around her ran away, and only she felt happy. Then there's an encounter with a high school classmate, passionate sex. It's dizzyingly beautiful.
Then distressed.
Then the puppet artist appeared. Did Kieslowski want to compare him to a god or a god? It was because of him that Veronica finally understood why she felt distressed. And he, after several trials, made her find him like cracking a game maze. There is no doubt that Kieslowski is alluding to the inescapable things in life, to imply that there is always a hand in our lives out of sight, either temptation or pain. In fact, the relationship between the puppeteer and Veronica is one of manipulation and manipulation, not so-called love. Even Veronica isn't sure if it's right or wrong to fall in love with him, otherwise she wouldn't choose to run away.
The puppet artist leads her to him step by step, which we can prove by the puppet artist taking out two identical puppets, then pinching them by the back of the neck and starting to perform this detail to prove that Kieslowski set the role meaning. A possible fate or a manipulated life.
Kieslowski says it's a women's film, and it's all about irrational feelings, hunches, and relationships. What he wants to express is a woman's keen sense of things, hunches and intuitions. If you look carefully, Kieslowski is very delicate, his shots have many purposes, the exhibitionist, the crowds running through the square, the tanks and the transported Lenin, Veronica and The relationship between aunt and girlfriend, the husband who betrayed his girlfriend, perjury... Maybe what Kieslowski wants to say is that this world is changing and deformed, it may be related to your life, or it may not, but they are always part of life. You can be free, you can stay out of it, everything is so uncertain.
Veronica of Poland passed away suddenly, Veronica of France refused the invitation of the musical theatre company and continued to be a music teacher in elementary school. No reason was hinted, but Veronica seemed to understand that something was far away from her, and she chose to give up. Does this symbolize a return?
Does my narration and analysis make Kieslowski seem philosophical? If we think so, obviously we have been fooled and underestimated Kieslowski. He set up two traps, one for Veronica the puppeteer and one for us by Kieslowski. Of the two Veronicas, the Polish one is actually more real and beautiful; Kieslowski's trap is that if you are really fascinated by the love between the puppet artist and Veronica, then you will not pay attention to human beings. Gradually losing himself, and ultimately failing to understand his intentions and his painstaking expressions. He just wanted to show that life must go on, and that human beings have a self or not, and it is still uncertain.
It may be hard to watch this way, but Kieslowski has chosen music as the greatest similarity of Veronica's double life, and the film is beautiful. It doesn't matter what you sing, beauty is the key.
The movie is certainly not good-looking, it has almost no plot, it is a standard emotional movie, it jumps, and the two Veronicas are almost indistinguishable, which makes it more difficult for the audience to differentiate. But if you can enter, you will find that Kieslowski is really beautiful and deliberate. He only pays attention to the expression of the heart, and he expresses all the heart. He will make you uneasy. Even the golden color of the picture is very purposeful (this is almost the same as the use of color by Iranian Abbas in "The Taste of Cherry").
Kieslowski once said that people's inner life is the most difficult to photograph. He said: "Even though I knew that no matter how hard I tried, I couldn't get them out, I chose this direction and worked hard to get closer in this direction under the conditions of my own technology.
He also said: "I will never tell you when I suffered the most. I will not tell anyone that the most painful is always hidden deepest in the heart.
He added: Of course, it will show up somewhere, and if you really want to, you will find it.
Maybe a little bit in Veronica's Double Life. his pain or worry.
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