The Films of Krzysztof Kieślowski: The Liminal Image 9781628929065

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THE LATER FEATURES (1991-1994) The Double Life of Veronique and The Three Colors Trilo8)'

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his final chapter discusses the films that epitomize )(jdlowski's metaphysically aimed formalism. Much of the discussion in Chapter 2 center on these last lour films, so this chapter will not discuss form in the same detail, even though, to my mind, form is a fundamental emphasis in Kidlowski's later aesthetic. Here, the emphasis will be on the culmination of Kidlowski's career-long thematk concerns. For a full pictun:, this chapter should be read in concert with Chapter 2, as Kidlowski's constant goal is to transcl'nd beyond words and, ultimately, beyond image. The synergy between the abstract image and the metaphysical themes becomes most pronounced in The Double I.ife if Yeronique. In Blue, the formal impulse persists, but the connection between the style and metaphysical expression is more subtle and controlled. In Whire, the formalist aesthetic exists in subdued lonn, and the reasons for this tempering revolve around generic considerations (i.e., the demands of a satiric comedy, rather than a contemplative drama). Finally, Red demonstrates an extraordinary balance of Kidlowski's approach to form, the image, and metaphysical issues. It also ends his remarkable filmmaking career.

The Double Life oj Veronique An e.\pansion ?F the character Ola, in Decalogue IX, Weronika (Irene Jacob), a Joun8 8irl in Poland, is a naturu/~' tl!fted sintler. As an opportunity urifolds Jor her to peifiJrm in a major conClm, she bellins to s0for chest pains, bur only cifier she has cau8hr a tllimpse ?f a tourist who looks exacrly like her. She corifcsses co her father thar she has alll'ays semed the presence if someone else connected to her, but SYNOPSIS:

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