I begin the next segment’s examination with a quote from Marcel Proust: At the Champs-Élysées I had had an inkling, which since those days had become clearer to me, that when we are in love with a woman, all we are doing is projecting on to her a state of our own self; that consequently…

We have arrived at the heart of the movie. Veronique gets off a train at St. Lazare and begins to explore the soundscape around her, hoping it leads her to Alexandre. She looks so small and fragile in this crowd and she soon comes face to face with someone from Weronika’s past, the woman in…

There’s something melancholy about this segment of the film, but maybe that’s just me. It begins with her in music class, and for a group of young children, they sure seem to be doing a wonderful job with Van den Budenmayer. Except Veronique doesn’t like what she’s hearing from a girl named Nicole playing the…

It’s funny just how rare it is to see characters in movies or TV shows reading. Veronique apparently didn’t just buy one of Alexandre’s books, she seems to have bought them all. And she’s surrounded herself on her bed with them and seems to be devouring the text, cross referencing them at times, laughing at…

While Montaigne doesn’t raise the name of Machiavelli, you can feel his influence on the accepted tactics of his age in Montaigne’s laments. He was not happy with the fact that tactics considered dishonorable in other ages had now become common, although he does temper this a bit with some examples of subterfuge to achieve…

I mentioned yesterday the main difference between Weronika and Veronique, that of awareness. Veronique lives in a higher level of consciousness because she is attuned to the world and receptive to life’s lessons. The most important thing I have taken away from my years’ long study of Michel de Montaigne, supplemented a bit by what…