The movie is about fate, and the author of the novel loves to write about religion, so the name Veronica has a mysterious color.
Kieslowski's films, except for red, white and blue, are not easy to find, and because of his laziness and no stalking spirit at all, he delayed until today (it seems to be yesterday) to see.
The downloaded version is not very good, and it has English subtitles. Fortunately, there is very little dialogue, so it can still be dealt with in the past.
The various film reviews I have read about fate and psychics don't work at all, I think it is metaphysical loneliness and the pain of division.
The film uses a yellow filter, but there is no ambiguous tone, because the yellow is brilliant.
Two beautiful women with the same name and surname who were born in different places at the same time, accumulated strength in their respective lives, and then met.
After the encounter, the Polish girl who saw the other side suddenly died on the stage, and the ignorant French girl continued to search, one life and one death, but it was not that one party fulfilled the other, but each other fulfilled each other.
The living Veronica sees the photo of the dead Veronica that she accidentally took, and this finally completes the meeting.
Everyone throws away a part of themselves somewhere and suffers a split when they think about it.
Apart from the other self, there is only loneliness, but after all, the two self cannot be companions.
Only in the end, Veronica walked into her father's arms, a hint of redemption, or just comfort.
The man said that in order to be afraid of damage in the performance, he would make two identical dolls. This sentence expresses the will of God. He has created divisions that people cannot stop, and they are deeply lonely in their self-seeking.
France and Poland, for Kieslowski, should be two souls, the former is for life, or for death, put to death and then live.
And his despair is the cutting and reluctance of himself, which is divided into two places and cannot be pieced together.
He doesn't trust people, always putting an elderly woman in a series of positions, and this character has been trudging through small actions, testing everyone's patience.
Even if there is forgiveness in blue, a slight warmth in red, and small wins and losses in white, it will still be quiet in the end.
The detail in the film is reminiscent of Antonioni, they are of course different, just equally sensitive.
The "Suzhou River" I watched before uses the same technique, but it doesn't have the same skills, and it doesn't have the same connotation. It can't even be considered imitation.
The girl played by Zhou Xun is dead and insensitive and heartless. If it is said that this is a postmodern deconstruction, there is nothing to say.
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