Krzysztof Kieślowski
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Connections, in both directions
Other movies, like Sliding Doors and Krzysztof Kieslowski’s Blind Chance, have explored similar ideas, but Van Dormael pushes the conceit close to its breaking point, depicting parallel-lives-within-lives.
Run Lola Run will be compared to many other titles like: Rashomon (1950), Krzysztof Kieslowski's Blind Chance (1981), Night on Earth (1992), Groundhog Day (1993), Pulp Fiction (1994), last year's Sliding Doors , and the recent titles Go and Twice Upon a Yesterday , as well as episodes of "The X-Files."
Compared to the alternate scenarios envisioned in "Sliding Doors" or "Blind Chance," "Run Lola Run" comes across as pedestrian and it stretches credibility that in a mere 20 minutes Lola can run from her home to her father's office and then to Manni; it looks like she's been running for hours.
Blind Chance, finished in 1981 but withheld from release for six years, goes off something of a metaphysical deep end, though its structure was innovative enough to provide inspiration (if that's the word) for Sliding Doors and Run Lola Run.
Tornatore does not have Fellini's deft hand, however, and the story eventually takes a dark turn, with some of its themes and ideas recalling the late Krzysztof Kieslowski's A Short Film About Love , in which a young voyeur comes has his fantasy picture of a woman brutally shattered by an encounter with her.
In addition to being exactly the kind of pop-culture reference these characters might actually make in this situation, it’s exceedingly sly, because Sliding Doors—like Krzysztof Kieslowski’s Blind Chance, which it strongly resembles—is about, well, blind chance.
Watcher (2022)
Directed by Chloe Okuno
influenced by Three Colors: Blue (1993), A Short Film About Love (1988)
Visuals Themes
Okuno has referenced Kieslowski’s Three Colors: Blue , Sofia Coppola’s Lost in Translation, and Roman Polanski’s apartment trilogy as tonal and visual inspirations, and they echo the movie’s more obvious allusions to Hitchcock and De Palma.
Okuno also cites Kieślowski as an influence, and his brilliant “A Short Film About Love,” with clever nods to “Rear Window,” conveys the vague relationship between a peeping tom and his subject, the beautiful woman across the street who eventually comes to enjoy being watched.
This thriller is like a spiritual cousin to Kathryn Bigelow’s “Strange Days” and maybe Krzysztof Kieslowski’s “The Double Life of Veronique.”
It's the beginning of a courtship between Ricky and Jane, and the interplay of self-conscious imagery, voyeurism, and desire recalls Steven Soderbergh's sex, lies and videotape and Krzysztof Kieslowski's A Short Film About Love.
Gattaca (1997)
Directed by Andrew Niccol
influenced by Three Colors: Blue (1993), The Double Life of Véronique (1991)
Cinematographer Slawomir Idziak, for instance, is best known for his work with Krzysztof Kieslowski -- Idziak shot The Double Life of Veronique and Blue , and his work on Gattaca can't help but recall the far more haunting imagery of those much simpler pictures.
The striking future-retro look created by production designer Jan Roelfs ("Orlando") and the shadowy, angular cinematography by Slawomir Idziak ("Blue") are memorable, but neither distract from the story.
Cinematographer Slawomir Idziak (who shot a few Krzysztof Kieslowski films, including Blue) is a sorcerer conjuring with golden browns and muted violets; this is one of the most beautifully photographed movies of the decade.
Cinematographer Slawomir Idziak, for instance, is best known for his work with Krzysztof Kieslowski -- Idziak shot The Double Life of Veronique and Blue , and his work on Gattaca can't help but recall the far more haunting imagery of those much simpler pictures.
The Lives of Others (2006)
Directed by Florian Henckel von Donnersmarck
influenced by A Short Film About Love (1988)
Themes
Francis Coppola explored similar territory in 1972 in The Conversation, but The Lives of Others reminded me more of the work of the late, great Polish director Krzysztof Kieslowski, especially A Short Film About Love.
Another Earth (2011)
Directed by Mike Cahill
influenced by The Double Life of Véronique (1991)
Themes
There are no little green men and no special effects to speak of, but the looming presence of that planet and its possibilities turns Another Earth into a metaphysical treat, with influences that range from Krzysztof Kieslowski's The Double Life of Veronique and Blue to Andrei Tarkovsky's Solaris.
(In fact, Krzysztof Kieslowski's Blind Chance toyed with similar elements of life, death, and crashing planes.)
Its power soundtrack verifies Richard Kelly’s Hughes-ian aesthetic, and his stuttering steadicam shots are lifted from Martin Scorsese—one of the final shots in the film, even, is noticeably similar to the final shot of Krzysztof Kieslowski’s Blue .
The Grand Budapest Hotel (2014)
Directed by Wes Anderson
influenced by The Double Life of Véronique (1991)
Plot
The doppelgänger premise still has its appeal; whole generations of filmgoers have never seen "Vertigo," or, for that matter, Krzysztof Kieslowski's gorgeously ambiguous "The Double Life of Veronique."
Blue Is the Warmest Color (2013)
Directed by Abdellatif Kechiche
influenced by Three Colors: Blue (1993)
Directed by the Tunisian-French auteur Abdellatif Kechiche, and based on a graphic novel called Blue Angel (“Le Bleu est une couleur chaude”), ‘Blue”‘s Cannes award was, in a rare move, presented to both the director and the two lead actresses.
About midway through Red Notice , Ryan Reynolds' international art thief Nolan Booth starts distractedly humming a snatch of the Indiana Jones theme — that triumphant duh duh-duh DUH melody still instantly familiar even in a few brief, reedy notes.
Upstream Color (2013)
Directed by Shane Carruth
influenced by The Double Life of Véronique (1991), Three Colors: Blue (1993), Three Colors: Red (1994)
Characters
I meant those words as a kind of high praise: the remarkable Seimetz is as central to the film as women in Krzysztof Kieslowski’s late films, like Irène Jacob in “Three Colors: Red” and “The Double Life of Véronique” or Juliette Binoche in “Three Colors: Blue.”
I meant those words as a kind of high praise: the remarkable Seimetz is as central to the film as women in Krzysztof Kieslowski’s late films, like Irène Jacob in “Three Colors: Red” and “The Double Life of Véronique” or Juliette Binoche in “Three Colors: Blue.”
I meant those words as a kind of high praise: the remarkable Seimetz is as central to the film as women in Krzysztof Kieslowski’s late films, like Irène Jacob in “Three Colors: Red” and “The Double Life of Véronique” or Juliette Binoche in “Three Colors: Blue.”
Open this photo in gallery The film, which picks up after the events of 2018′s Venom, contains a fun bit in a post-credits scene.
Writer-director Jeremy Saulnier (Blue Ruin) calls this blood-soaked opus a “horror thriller,” although I can’t imagine why.
Black Hawk Down (2001)
Directed by Ridley Scott
influenced by Three Colors: Blue (1993), The Double Life of Véronique (1991)
Cinematographer Slawomir Idziak ("The Double Life of Veronique," "Blue") captures Scott's vision and production designer Arthur Max' ("Gladiator") rendering of Mogadishu in Morocco with breathtaking images from sweeping devastation to the point of view of an injured soldier beset by a hostile mob.
Cinematographer Slawomir Idziak ("The Double Life of Veronique," "Blue") captures Scott's vision and production designer Arthur Max' ("Gladiator") rendering of Mogadishu in Morocco with breathtaking images from sweeping devastation to the point of view of an injured soldier beset by a hostile mob.
This is obviously not the first time we’ve had a film about doppelgangers — see Kieslowski’s wondrous The Double Life of Veronique, Ingmar Bergman’s masterpiece Persona, hell, there’s even a new one coming out later this year from Richard Ayoade called The Double, not to be confused with the Saramago novel that Enemy is based on — but Enemy really hones in on the existential dread of what it would be like to meet your double in a way that Ayoade’s comedic sensibilities, the sensitive humanism of Kieslowski, and the enigmatic qualities of Bergman couldn’t.