Her emotions, her tears, they look so natural. The emotions i observe in real life after i watched this movie look so made-up.

In Poland, a choir girl (Irène Jacob) makes her dream of becoming an opera singer come true, but there's a price to be paid. In France, a music teacher (also Irène Jacob) is intuitively influenced by her double's life and undertakes a just-as-unexplainable relationship with a handsome puppeteer. Krzysztof Kieslowski's The Double Life of Véronique is yet another film I've watched this week that makes more poetic sense than actual sense. I love my DVD shelf. This could easily be part of Kieslowski's later Three Colors trilogy, casting the film in gold, and acts as a particular mirror to Red, also starring Irène Jacob (perhaps Valentine is a third Véronique?). As with Red, the film is full of visual rhyming, reflections, doubles, recurring and intertwining images, all of which gives credence to the thoery that it is in some ways about filmmaking itself. Different but similar characters played by the same actress, perhaps versions of the same character who diverged on the scriptwriter's page, one of which becomes aware of a force manipulating or using her story. Is she a puppet, or a muse? How can she tell after she's lost her connection to her other self? A gorgeous-looking film, and one that may give up different interpretations on each subsequent viewing. Lovely if not flawless (the interrupted divorce court subplot may frustrate).

Did someone get the last scene?