"I first watched Krzysztof Kieslowski’s The Double Life of Véronique during the beginning of my undergraduate course in Film Studies. Nearly eight years later, the Polish director remains one of my idols, he is a true master in my eyes. When pushed to pick a favourite, as much as I love Blue* and Red (let’s face it, no one ever picks White. And Dekalog doesn’t count because it’s technically a television series), I will always pick Véronique.
The film’s philosophical weight is matched—perhaps even transcended—by its sheer beauty. Both Slawomir Idziak’s cinematography and Zbigniew Preisner’s score are perfect counterparts in revealing a world to us that doesn’t quite seem to be our own. Life is shown through both gold and green filters—at once celestial and unsettling. But the film’s real heavenly moments take place when it grounds itself in the banal, everyday mannerisms and idiosyncrasies of its characters: a face pressed against a window pane, an old lady attempting to dispose of a bottle, a distorted and inverted world seen through a transparent ball held up to an eye. "
- Simon, Curzon Aldgate