“LA DOUBLE VIE DE VÉRONIQUE” 1991 | 98’ [PL+] | RITUALS OF CINEMA III Cnm Scrngs
Detalles
## Ciclo OS RITUAIS DO CINEMA III
[THE RITUALS OF CINEMA III Cinema Screenings]
“LA DOUBLE VIE DE VÉRONIQUE” 1991 | M/12 | 1h38’ [FR\PL\NO] (The Double Life of Véronique - ENG)
De Krzysztof Kieslowski
Sexta Dia 20/03 às 19h30 [Friday 03/20 at 7:30pm]
Duas histórias paralelas sobre duas mulheres idênticas: uma vive na Polónia, a outra em França. Elas não se conhecem, mas as suas vidas estão,
ainda assim, profundamente ligadas.
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.
Spoken in French and Polish | Subtitled in English
Mais info e reservas:
More info and reservations:
https://prosacultural.org/cinema/osrituaisdocinema3
There are rituals that do not seek to resolve the world, but to inhabit the mystery of identity. Gestures that turn not outward, but toward what vibrates between the self and the other, between mask and face, between the visible and the invisible. In this third cycle, The Rituals of Cinema moves into a more intimate and unstable territory: that of duplication and metamorphosis. What happens when identity reveals itself as fragile, permeable, multiple? And what kind of ritual can sustain such instability?
LA DOUBLE VIE DE VÉRONIQUE (1991), directed by Krzysztof Kieślowski, is a ritual of listening. Two women, in two different countries, live as if they shared a secret breath. They do not know each other, yet they sense one another. The film unfolds as a liturgy of intuition: green filters, reflections, repetitions, music passing through bodies. Véronique abandons her singing career not out of calculation, but out of premonition — as if obeying an invisible thread that preserves her from a destiny already lived by her other. Her ritual is deliberate and silent: to listen to what has no name, to trust the vibration that precedes language. Here, cinema becomes a space of suspension — not to explain the double, but to let it resonate.
The following day, HOLY MOTORS (2012), directed by Leos Carax, proposes an opposite and fragmented ritual: that of incessant metamorphosis. A man travels across the city inside a limousine, assuming successive identities as if fulfilling a liturgical calendar of performances. Each transformation is a complete act — costume, embodiment, surrender — followed by a return to the neutral space of the vehicle, a kind of mobile sacristy. Here, ritual is mimetic: it does not listen to the invisible, but incarnates the visible to the point of exhaustion. The film questions the very nature of representation: for whom does one perform? Who is watching? What community sustains the gesture? If in Kieślowski the double is an ontological mystery, in Carax multiplicity becomes performative vertigo.
Both films share a common unrest: how can one remain whole when identity fractures? LA DOUBLE VIE DE VÉRONIQUE responds with the delicacy of inner attunement; HOLY MOTORS with the radical embrace of the mask. Between withdrawal and exhibition, between premonition and performance, the spectator is invited to recognize their own condition — we too alternate roles, we too sense presences we cannot fully comprehend.
(Curatorship by Alexandre Braga)
All Cinema PROSA films will be shown on an illuminated pixel (65’’ QLED screen) in a room with a maximum capacity of 24 spectators.
Come and have a glass of wine or a non-alcoholic drink in the cinema room with us!