The cinematographer Sławomir Idziak photographed the film using a golden yellow filter, and the resulting sepia color scheme. When Weronika sits on a train, she holds up to the window (already offering a warped view of a townscape,interestingly, a cathedral most prominently) a small translucent ball with little stars frozen inside it. A close-up camera shot of the ball again gives the viewer the same point-of-view as Weronika, and once again the world outside is inverted while the stars grab our attention. Also, the color blue is deliberately eliminated from the film. True blue appears only a few times in the picture, in each instance reflecting a subjective feeling of love or otherness: Weronika's sighting of Veronique (where she appears almost haloed by the color); the blue dress of Weronika's aunt; Veronique's discovery of the puppeteer's reflection in a backstage mirror; Alexandre's van; and another subjective view of the puppeteer, as Veronique watches him covertly through a stained glass window. Also, her encounter with the puppeteer whom she is attracted to and also offended by, the scene from that moment, the warm green color became much more dominent throughout the film. Her attraction to the puppeteer is also suggestive of her search for the/an Other/other. Who is the puppeteer but the God-figure of the world of marionettes?
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