My favorite Kieslowski film.

Stunning to look at and has the Lynch dreamlike atmosphere surrounding it. Boils over a lot of emotions and is quite haunting. Immensely impressive though didn't fully connect with me.

Rapturous filmmaking. Kieslowski manages to toe a fine liminal space, especially through the Veronika section, and his little flights out of the physical world and the transmissions between the two girls are enchanting. The second section is a little heavy (on the color filter especially), but just when it begins to flag we get the captivating section of music concrete, to contrast all the classical; fantastic use of sound! Jacob is just marvelous here: sensual, innocent, possessed, alive.

Lush cinemtography that looks like your aunt's pond, this is quite a creative and original look into the soul, identity, and the many people around us.

Has a lovely style to it - supernatural, yet warm. Irene Jacobs has one of the most wonderful faces, and we're invited to observe it as she sits and thinks. I admit to not getting it at first - I'd mistaken it for the Bunuel where two actresses play the same woman - but once I understood it proved to be a lovely watch. Incredible use of music.

Kieslowski's beautiful amber-toned world is full of fascinating angles and reflections (his symbolism for personal reflection and looking out from inside). Beyond is an otherworldly ponderance on the spiritual connection and ethereal sense of ourselves that we experience in life. Are we alone in this inherently meaningless universe? This movie explores this issue through metaphor and contrast of the two sexy protagonists. I didn't quite fully connect with this film, but its themes are worthy.

Overflows with life as it winds through possibilities. If anything, it says a bit too much, when each image is so rich already.

One of the most beautiful things I've ever seen

Enigmatic and mysterious, yes, but coherent too! Jacob glows in Idziak's sublime photography. This film really reflects Kieslowski's humanist beliefs in the connections between us all. It's rich, layered and rewards repeated viewing.

the more I think about this movie the more I realize how intensely beautiful it is.

grade ingredients, bad bake

Gripping, surreal and gorgeous. The green hue comes off as spooky and supernatural, aided by the hauntingly powerful score. There's many layers I will need to unlock on further viewings, but I took a lot from it already.

An enigmatic work of beauty that doesn't look or feel dated in the slightest, given how old it is. Irene Jacob turns in a terrific double performance, though I would have liked the story to delve further into the metaphysical connection between the two characters.

not my favourite Kieslowski but breathtakingly beautiful as always.

It perfectly captures a feeling, a mood, this occasional thought that there's more to the world than simple logic and science, that things move in mysterious ways and maybe that's all chance or maybe there's something more. Whether these ideas have any basis in fact isn't the point, what is the point is that feeling, that strange sensation that they might do and being unable to explain why, and that is what the film captures so perfectly. One of the most visually stunning films I have ever seen.

The story was interesting enough to captivate me for duration of the film. However, what was really mesmerizing was the cinematography. I find it hard to think of a film that had a more elegant colour palette, or a better eye for strange visual leitmotifvs. The recurring imagery of glass and it's warping capacity are enough to keep one occupied throughout a movie that feels longer than it actually is.

Kieslowski's precursor to his colors trilogy is no different from its successors: This film is not intended to be understood completely. It's more an ephemeral tour de force from Kieslowski, Preisner and Idziak. Irene Jacob's sublime presence sometimes overshadows the story, but then again, you can't complain too much about beauty.

Is this a symbolic drama about Europe being divided from itself, fatally? Or some kind of Christ allegory? In any case, the significance eluded this viewer. Kind of interesting for a while, but distinctly wears out its welcome. Kieslowski again fails to impress.

Amélie in Minor Key