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    La double vie de Véronique (Original Film Soundtrack)

    Different stars

    • 1 Zbigniew PreisnerWeronika 0:40
    • 2 Zbigniew PreisnerVéronique 0:26
    • 3 Zbigniew PreisnerTu viendras 2:39
    • 4 Zbigniew PreisnerL'enfance 3:12
    • 5 Zbigniew PreisnerVan den Budenmayer: Concerto en mi mineur (SBI 152 - Version de 1798) 4:31
    • 6 Zbigniew PreisnerVéronique 0:37
    • 7 Zbigniew PreisnerSolitude 0:59
    • 8 Zbigniew PreisnerLes marionnettes 2:29
    • 9 Zbigniew PreisnerThème: 1ère transcription 0:56
    • 10 Zbigniew PreisnerL'enfance II 1:01
    • 11 Zbigniew PreisnerAlexandre 1:16
    • 12 Zbigniew PreisnerAlexandre II 1:15
    • 13 Zbigniew PreisnerThème: 2ème transcription 0:57
    • 14 Zbigniew PreisnerConcerto en mi mineur : Instrumentation contemporaine, no. 1 0:40
    • 15 Zbigniew PreisnerConcerto en mi mineur : Instrumentation contemporaine, no. 2 1:16
    • 16 Zbigniew PreisnerConcerto en mi mineur : Instrumentation contemporaine, no. 3 1:28
    • 17 Zbigniew PreisnerVan den Budenmayer : Concerto en mi mineur (SBI 152 - Version de 1802) 5:22
    • 18 Zbigniew PreisnerGénérique de fin 1:26

    La double vie de Véronique 3

    " Each of us is matched somewhere in the world, by our exact double – someone who shares our thoughts and dreams."
    Runtime 1 hr 38 min
    Premiere: World $2 175 939 May 15, 1991
    USA $1 999 955
    Other countries $175 984
    Premiere: USA $1 999 955 November 22, 1991
    theaters 22
    rollout 406 days
    Digital: World August 6, 2013
    Parental Advisory Sex & Nudity
    • Sex & Nudity


    • Frightening & Intense Scenes


    • Alcohol, Drugs & Smoking


    Production Companies Canal+Norsk FilmZespol Filmowy "Tor"...Sidéral Productions
    Also Known As
    La choriste France


    Two parallel stories about two identical women; one living in Poland, the other in France. They don’t know each other, but their lives are nevertheless profoundly connected.

    Сast and Crew


    The film has a strong metaphysical element, though the supernatural aspect of the story is never explained. Like the later Three Colours: Blue, it showcased Preisner's musical score as a major plot element, crediting his work to the fictional Van den Budenmayer. The cinematography is highly stylized, using color and camera filters to create an ethereal atmosphere; the cinematographer, Sławomir Idziak, had previously experimented with these techniques in one episode of Dekalog, and Kieślowski would later use colour for a wider range of effects in his Three Colours trilogy. Kieślowski had earlier used the idea of exploring different paths in life for the same person, in his Polish film Przypadek (Blind Chance), and the central choice faced by Weronika/Véronique is based on a brief subplot in the ninth episode of Dekalog.

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    Kislevsky’s breakthrough film, meta-ironically balancing its deeply metaphorical, meaningful narrative between Poland and France. Perfect cinematography, amazing aesthetics, the unique Irene Jacob and a soundtrack that will chill you to the bone. Absolutely brilliant movie. Translated to English


    An immensely beautiful, poetic and mysterious film with the incomparable Irene Jacob. I rewatched it 12 years later, again I didn’t understand anything, but I was able to fully appreciate everything listed in the first sentence. Not my favorite Kieślowski film, but so far the only one I have seen. Translated to English


    Deep life psychology. The theme of choosing love over a career and vice versa is shown magically, but I could only get emotionally hooked on the visuals, and this is not enough to get catharsis in the cool ending. Translated to English