Kieslowski

I cannot think of a more Montaigne-like film than the 2013 Krzysztof Kieślowski movie “Three Colors: Blue.” I have no idea if the Polish director had read Montaigne or even if he did, if he considered the similarities between this first film in his European unification trilogy and the essayist.

Kieslowski did not know how to end “The Double Life of Veronique.” At one point in the editing process, he considered opening the film in 18 Paris theaters and having a different ending in each. And, in fact, the film has two different official endings. There is the version of

After the fade to black, we awaken in a Veronique dream. But it’s not her recollections, it’s a memory of Weronika — the upside down inside-the-superball view of a church, the same church her father was painting … the same painting she earlier described to her father. Kieslowski needs to

I begin the next segment’s examination with a quote from Marcel Proust: At the Champs-Élysées I had had an inkling, which since those days had become clearer to me, that when we are in love with a woman, all we are doing is projecting on to her a state

We have arrived at the heart of the movie. Veronique gets off a train at St. Lazare and begins to explore the soundscape around her, hoping it leads her to Alexandre. She looks so small and fragile in this crowd and she soon comes face to face with someone from

There’s something melancholy about this segment of the film, but maybe that’s just me. It begins with her in music class, and for a group of young children, they sure seem to be doing a wonderful job with Van den Budenmayer. Except Veronique doesn’t like what she’