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Thursday, May 9
The Indiana Daily Student

Doubly worthwhile

Every bit an independent-minded foreign film, “The Double Life of Veronique” radiates what much of the American cinema fails to produce: originality. I wouldn’t even know how to classify the film – it touches the genres of romance, science fiction and even heart-pounding thriller. The most prominent technique in the film is its lack of dialogue, which amplifies the film to a level untouched by most directors and screenwriters. Body language and cinematography have a distinguished role throughout the film, and both of these elements are performed flawlessly to their highest potential.

"Double Life" is worth seeing for more than just formal concerns, though. Consider the music. I am in no way a big fan of opera or orchestra for the most part; I just don’t get it. But the music by composer Zbigniew Preisner in the concert scene sent chills up my spine. I have never heard an opera or orchestra performance as dark and twisted as the one depicted in the film. The music plays a continuous role in the movie’s plot.
Additionally, Irene Jacob’s beautiful face and goddess-like body constantly demonstrate how the film’s embrace of visual language makes up for the entire film being in French and Polish with English subtitles. Without spoiling, the film does ask you to buy into the phenomenon of two seemingly identical women living similar lives – hence the title “The Double Life of Veronique.” The film does, though, at times become confusing because of this supernatural element and because it doesn’t follow the linear pattern Hollywood movies do.

Krzysztof Kieslowski, the writer and director of “The Double Life of Veronique,” is a giant in European cinema, and the extras DVD lets you pick apart his brain. The extras acknowledge Kieslowski’s political and cinematic voice, serving as a tribute to his death in 1988. The special features also include an interview of Zbigniew Preisner and cinematographer Slawomir Idziak, whose work gives “Double Life” its visceral details.

Kieslowski’s film isn’t easy to wrap your head around, but its weird, engrossing journey is well worth its difficulty.

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