The Double Life of Véronique (with a mesmerizing performance from Irene Jacob), is quite possibly the story of separated-at-birth identical twins. At least that's premise I'm working under. Véronique is a music teacher in France, and her doppelganger Weronika, a budding vocal soloist in Krakow, Poland. Neither knowing the other exists. When Weronika suddenly dies, Véronique is greatly moved by a sudden, ethereal sadness. Determined to put these emotions on the back burner, Véronique moves on with her life but suffers an epiphany which draws her to an author/puppeteer, and ultimately towards the film's realization.
Kieslowski's documentarian roots no doubt play an huge part in the way The Double Life of Véronique holds onto it's linear progression, while the film tends to want to obfuscate and metamorphosize. Similarities to other existentialist directors/films have been thrown around as in works from Luis Buñuel (That Obscure Object of Desire) and David Lynch (Lost Highway); I tend to believe Kieslowski's work is more in line with Buñuel than with Lynch for the simple fact that the two directors, specifically with the two aforementioned films, are more obvious in with their intentions. That is to say, whatever obfuscation that arises is wholly on the viewer; like a musical "phantom beat" or a veritable optical illusion. Veronique's doppelganger can also signal Kieslowski's intention to portray Véronique's struggle to remain an individual as she grows. Weronika is a bit childish in comparison to Véronique. The doppelganger (a phenomenon faithfully constructed in film's of Kiyoshi Kurosawa) generally causes confusion and usually foretell a character's demise or downfall. Is there something more sinister and malicious going on with Kieslowski's story? A major cinematic tool Kieslowski utilizes in "The Double Life" are mirror images of and reflection on Véronique; Weronika isn't treated equally in that respect and since doppelgangers are thought to have none we might draw conclusion on Kieslowski's focus (i.e. allowing us to come to a conclusion that the two women are one in the same). What's creates a more mysterious circumstance is, and is in line with doppelganger folklore, Weronika does indeed die soon after seeing hers. So as one can see, interpreting The Double Life of Véronique can go way beyond it's literal story. But all of this is speculation of course and isn't vital to enjoy a simply fantastic story.
To wrap this up, a hearty nod goes to The Criterion Collection and their treatment of the Kieslowski & Krzysztof Piesiewicz written, Slawomir Idziak photographed film. With newly translated dialogue, a brilliant edition in every respect. An interesting enough note from IMdB had b-movie staple Andie MacDowell on the short-list for the part of Véronique/Weronika... Insert congratulations on Kieslowski's good fortune for Irene Jacob here.
