She points out that Kieslowski got his start making documentaries and that The Double Life of Veronique saw him moving into a “deeply poetic brand of cinematic storytelling.” She observes that the two main characters aren’t aware of each other except perhaps on an intuitive level and this is shown through visual cues or a kind of “visual rhyming” via reflections. Insdorf points out autobiographical elements in the movie, like how Weronika smokes and has a heart condition much like Kieslowski. Also, the deep bond between father and daughter mirrored the filmmaker’s own life. Insdorf, who contributed commentaries for Kieslowski’s Three Colours trilogy, delivers a thoughtful track with excellent insight and analysis that is very accessible.