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38-539: [REDACTED] Look up Véronique in Wiktionary, the free dictionary. Véronique can refer to: Véronique (given name) , a French female name Véronique River , a river in the Côte-Nord region of the province of Quebec, Canada. Véronique (rocket) , a French sounding rocket Véronique (operetta) , composed by André Messager in 1898 Véronique (film) ,

76-543: A "metaphysical masterpiece." At the All Movie web site, the film received a 4-star rating (out of 5) plus "High Artistic Quality" citation. At About.com , which specializes in DVD reviews, the film received 5 stars (out of 5) in their critical review. At BBC , the film received 3 stars (out of 5). Peter Bradshaw of The Guardian gave the film five stars out of five. On the aggregate reviewer website Rotten Tomatoes ,

114-529: A 1950 French historical musical comedy film Véronique, the stage name of French Canadian singer Véronique Béliveau the principal character in The Double Life of Veronique , a 1991 film by Krzysztof Kieślowski Véronique, a song from the musical On the 20th Century , 1978 Véronique, a song by Pink Martini] from their 2004 album Hang On Little Tomato RTL Véronique, a Dutch television channel, later renamed RTL 4 Topics referred to by

152-602: A 2005 interview with actress Irène Jacob; and new video interviews with cinematographer Slawomir Idziak and composer Zbigniew Preisner . It also includes a booklet featuring essays by Jonathan Romney, Slavoj Zizek, and Peter Cowie, and a selection from Kieślowski on Kieślowski . In July 2021, the film was shown in the Cannes Classics section at the 2021 Cannes Film Festival . Zbigniew Preisner Zbigniew Preisner ( Polish: [ˈzbiɡɲɛf ˈprajsnɛr] ; born 20 May 1955 as Zbigniew Antoni Kowalski )

190-543: A Theater Near You , Jenny Jediny wrote, "In many ways, The Double Life of Veronique is a small miracle of cinema; ... Kieslowski’s strong, if largely post-mortem reputation among the art house audience has elevated a film that makes little to no sense on paper, while its emotional tone strikes a singular—perhaps perfect—key." In his review in The Washington Post , Hal Hinson called the film "a mesmerizing poetic work composed in an eerie minor key." Noting that

228-488: A completely unconventional way, and she has such changeable features that our interest is never exhausted. What's remarkable about her performance is how quiet it is; as an actress, she seems to work almost off the decibel scale. And yet she is remarkably alive on screen, remarkably present. She's a rare combination—a sexy yet soulful actress. In her review in The New York Times , Caryn James wrote, " Veronique

266-579: A distinctively sparse form of tonal neo-Romanticism . Paganini and Jean Sibelius are acknowledged influences. Preisner is best known for the music composed for the films directed by fellow Pole Krzysztof Kieślowski. His Song for the Unification of Europe , based on the Greek text of 1 Corinthians 13 , is attributed to a character in Kieślowski's Three Colors: Blue and plays a dominating role in

304-537: A package containing a shoelace. She discovers that the puppeteer's identity is Alexandre Fabbri, a children's book author. Véronique reads his books and then receives a new package from her father with a cassette tape containing sounds such as a typewriter, a train station and a fragment of music by Van den Budenmayer. The postage stamp on the envelope leads her to the Gare Saint-Lazare in Paris, where Alexandre

342-428: A pair of marionettes that resemble her. Alexandre explains that he needs a backup in case the original puppet gets damaged. He demonstrates how to operate the puppet while the duplicate lies on the table. Alexandre reads her his new book about two women born on the same day in different cities who have a mysterious connection. Later that day, Véronique visits her father's house and touches an old tree trunk. Her father, who

380-423: A respectable result for a foreign art film. A digitally restored version of the film was released on DVD and Blu-ray by The Criterion Collection . The release includes audio commentary by Annette Insdorf, author of Double Lives, Second Chances: The Cinema of Krzysztof Kieślowski ; three short documentary films by Kieślowski: Factory (1970), Hospital (1976), and Railway Station (1980); The Musicians (1958),

418-454: A short film by Kieślowski's teacher Kazimierz Karabasz ; Kieślowski’s Dialogue (1991), a documentary featuring a candid interview with Kieślowski and rare behind-the-scenes footage from the set of The Double Life of Véronique ; 1966-1988: Kieślowski, Polish Filmmaker , a 2005 documentary tracing the filmmaker's work in Poland, from his days as a student through The Double Life of Veronique ;

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456-510: A solo part, Weronika suffers a cardiac arrest and dies. On the same day in Clermont-Ferrand , France, Véronique, who looks exactly like Weronika, is overcome with grief after having sex with her boyfriend and later tells her music teacher that she is quitting the choir. At school, Véronique attends a marionette performance with her class and then leads them in a musical piece by 18th-century composer Van den Budenmayer , who also wrote

494-1011: Is a Polish film score composer , best known for his work with film director Krzysztof Kieślowski . He is the recipient of the Gold Medal for Merit to Culture – Gloria Artis as well as the Knight's Cross of the Order of Polonia Restituta . He is a member of the French Film Academy . Zbigniew Preisner was born in Bielsko-Biała , southern Poland, and studied history and philosophy at the Jagiellonian University in Kraków . Never having received formal music lessons, he taught himself music by listening and transcribing parts from records . His compositional style represents

532-555: Is based on a brief subplot in the ninth episode of Dekalog . The film was shot at locations including Clermont-Ferrand , Kraków and Paris . In November 2006, a Criterion Collection region 1 DVD was released in the United States and Canada, which includes an alternative ending that Kieślowski changed in the edit at the request of Harvey Weinstein of Miramax for the American release. Kieślowski added four brief shots to

570-653: Is different from Wikidata All article disambiguation pages All disambiguation pages The Double Life of Veronique The Double Life of Veronique was Kieślowski's first film produced partly outside his native Poland. It won the Prize of the Ecumenical Jury and the FIPRESCI Prize at the 1991 Cannes Film Festival , as well as the Best Actress award for Jacob. Although selected as

608-448: Is inside the house, seems to sense her presence. The film incorporates a strong metaphysical element, yet the supernatural aspect of the story remains unexplained. Similar to Three Colours: Blue , Preisner's musical score plays a significant role in the plot and is credited to the fictional Van den Budenmayer . The cinematography is highly stylized, utilizing color and camera filters to create an ethereal atmosphere. Sławomir Idziak ,

646-620: Is most closely associated with Kieślowski, he has collaborated with several other directors, winning a César in 1996 for his work on Jean Becker 's Élisa . He has won a number of other awards, including another César in 1994 for Three Colors: Red , and the Silver Bear from the 47th Berlin International Film Festival 1997 for The Island on Bird Street . He was nominated for Golden Globe awards for his scores for Three Colors: Blue (1993) and At Play in

684-474: Is poetic in the truest sense, relying on images that can't be turned into prosaic statements without losing something of their essence. The film suggests mysterious connections of personality and emotion, but it was never meant to yield any neat, summary idea about the two women's lives." In his review in the Chicago Sun-Times , Roger Ebert wrote, "The movie has a hypnotic effect. We are drawn into

722-469: Is waiting for her in a café. He confesses to sending the packages to see if she would come to him. Enraged, Véronique leaves and checks into a nearby hotel. Alexandre follows her and apologises to her. They confess their feelings for each other and fall asleep together. The next morning, Véronique tells Alexandre that throughout her life, she has felt like she is "in two places at the same time", and believes that someone has been guiding her life. She shows him

760-468: The Book of Job . The premier recording, was released in 2007 with the lead singer of Madredeus , Teresa Salgueiro and boy soprano Thomas Cully from Libera . Van den Budenmayer is a fictitious 17th-century Dutch composer created by Preisner and director Krzysztof Kieślowski for attributions in screenplays. Preisner said Van den Budenmayer is a pseudonym he and Kieślowski invented "because we both loved

798-589: The 2003 film It's All About Love . He provided orchestration for David Gilmour 's 2006 album On An Island as well as additional orchestrations for the show at Gdańsk shipyards at which he also conducted the Baltic Philharmonic Orchestra, this was documented on the album Live in Gdańsk (2008). Silence, Night and Dreams is Zbigniew Preisner's new recording project, a large-scale work for orchestra, choir and soloists, based on texts from

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836-618: The Fields of the Lord (1991). In 1998, Requiem for My Friend , Preisner's first large scale work not written for film, premiered. It was originally intended as a narrative work to be written by Krzysztof Piesiewicz and directed by Kieślowski, but it became a memorial to Kieślowski after the director's death. The Lacrimosa from this Requiem appears in Terrence Malick 's The Tree of Life . The Dies Irae from this Requiem appears in

874-567: The Netherlands". Music "by" the Dutch composer plays a role in three Kieślowski films. The first is Dekalog (1988). The second is Three Colours: Blue (1993) in which a theme from his musique funebres is quoted in the Song for the Unification of Europe . Its E minor soprano solo prefigured in the earlier film The Double Life of Veronique (1991), where circumstances in the story prevent

912-642: The Polish entry for the Best Foreign Language Film at the 64th Academy Awards , it was not accepted as a nominee. In 1968, a Polish girl glimpses the winter stars, while in France, another girl witnesses the first spring leaf. In 1990, a young Polish woman named Weronika is singing at an outdoor concert with her choir when a rainstorm interrupts their performance. Later that night, she has sex with her boyfriend, Antek, before leaving for Kraków

950-464: The character, not kept at arm's length with a plot." Ebert singled out Sławomir Idziak's innovative use of color and cinematography: This is one of the most beautiful films I've seen. The cinematographer, Slawomir Idziak, finds a glow in Irene Jacob's pre-Raphaelite beauty. He uses a rich palette, including insistent reds and greens that don't "stand" for anything but have the effect of underlining

988-401: The cinematographer, had previously experimented with these techniques in an episode of Dekalog , while Kieślowski expanded on the use of color for a wider range of effects in his Three Colours trilogy . Kieślowski had previously explored the concept of different life paths for the same individual in his Polish film, Przypadek ( Blind Chance ). The central choice faced by Weronika/Véronique

1026-458: The contents of her handbag, including a proof sheet of photos from her recent trip to Poland. Alexandre notices what he thinks is a photo of Véronique, but she assures him that it is not her. Overwhelmed, Véronique breaks down in tears, and Alexandre comforts her. It becomes clear that Weronika's fate has influenced Véronique's decision to stop singing and avoid a similar fate. Later, Véronique visits Alexandre at his apartment and sees him working on

1064-420: The effect on the viewer is subtle but very real, Hinson concluded, "The film takes us completely into its world, and in doing so, it leaves us with the impression that our own world, once we return to it, is far richer and portentous than we had imagined." Hinson was particularly impressed with Jacob's performance: This is an actress with an uncanny openness and vulnerability to the camera. She's beautiful, but in

1102-583: The end of the film, which show Véronique's father emerging from the house and Véronique running across the yard to embrace him. The final image of the father and daughter embracing is shot from inside the house through a window. Zbigniew Preisner composed the score ; however, in the film, the music is attributed to a fictitious 18th-century Dutch composer named Van den Budenmayer, who was created by Preisner and Kieślowski for use in screenplays. Music credited to this imaginary composer also appears in Kieślowski's Dekalog (1988) and Three Colours: Blue (1993). In

1140-624: The film La Grande Bellezza , directed by Paolo Sorrentino and in the second season of the television series The Crown . Preisner composed the theme music for the People's Century , a monumental 26-part documentary made jointly in 1994 by the BBC television network in United Kingdom and the PBS television network in the United States. He has also worked with director Thomas Vinterberg on

1178-463: The film received an 84% positive rating from critics based on 31 reviews. The film was the 50th highest-grossing film of the year with a total of 592,241 admissions in France. In North America the film opened on one screen grossing $ 8,572 its opening weekend. In total the film grossed $ 1,999,955 at the North American box office playing at a total of 22 theaters in its widest release which is

Véronique - Misplaced Pages Continue

1216-628: The latter, a theme from Van den Budenmayer's musique funebres is quoted in the Song for the Unification of Europe , and the E minor soprano solo is foreshadowed in Weronika's final performance. The puppet acts were performed by American puppeteer and sculptor Bruce Schwartz . Unlike most puppeteers who usually hide their hands in gloves or use strings or sticks, Schwartz shows his hands while performing. The Double Life of Veronique received mostly positive reviews. In her review in Not Coming to

1254-483: The list. In his review for Empire Online , David Parkinson called it "a film of great fragility and beauty, with the delicacy of the puppet theatre." He thought the film was "divinely photographed" by Slawomir Idziak, and praised Irène Jacob's performance as "simply sublime and thoroughly merited the Best Actress prize at Cannes." Parkinson saw the film as "compelling, challenging and irresistibly beautiful" and

1292-431: The music Weronika performed before her death. That night, Véronique sees the puppeteer at a traffic light motioning to her not to light the wrong end of her cigarette. Later, she hears a choir singing Van den Budenmayer's music on a mysterious phone call. Véronique visits her father and confesses to being in love with someone she does not know and feeling like she has lost someone from her life. Back home, Véronique receives

1330-530: The next day to be with her sick aunt. She tells her father that she has a strange feeling that she is not alone in the world. Once in Kraków, Weronika joins a local choir and successfully auditions. One day, while walking through the Main Square , she spots a French tourist who looks identical to her and watches as her doppelgänger boards a bus and takes photographs. During the choir's next concert, while singing

1368-426: The other colors. The other color, blending with both, is golden yellow, and then there are the skin tones. Jacob, who was 24 when the film was made, has a flawless complexion that the camera lingers near to. Her face is a template waiting for experience to be added. In 2009, Ebert added The Double Life of Veronique to his Great Movies list. Krzysztof Kieślowski's Dekalog and The Three Colours Trilogy are also on

1406-415: The same term [REDACTED] This disambiguation page lists articles associated with the title Véronique . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Véronique&oldid=1212873544 " Category : Disambiguation pages Hidden categories: Short description

1444-400: The story. His music for Three Colors: Red includes a setting of Polish and French versions of a poem by Wisława Szymborska , a Polish Nobel Prize -winning poet. After working with Kieślowski on Three Colors: Blue , Preisner was hired by the producer Francis Ford Coppola to write the score for The Secret Garden , directed by Polish director Agnieszka Holland . Although Preisner

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