Watching Kieślowski Again; the music of Van den Budenmayer

Today I watched three films by Krzysztof Kieślowski: "Blue" and "Red" from the "Three Colors" trilogy and "The Double Life of  Véronique" ("La double vie de Véronique" or "Podwójne życie Weroniki") I wish I had someone in my life with whom I could watch these movies. In "Blue" Juliette Binoche played a woman whose husband and child are killed in accident. She seems to be somewhat cold on the outside, but she seems to be trying to control her emotions. It seems that if she let her emotions out there would be a great flood of them. Her acting in this film is amazing to me. Few directors have been able to fit as much into ninety minutes as Kieślowski did. The DVD of "The Double Life of  Véronique" has two discs and a book of essays. I had not paid much attention to the book until today. When I bought this DVD I was not familiar with the writing of Slavoj Žižek. I was looking at the DVD box today, and I noticed one of the essays was written by him. Also it was just the other day in "The Puppet and the Dwarf" I read what he had written in it about "The Decalogue" which was directed by Kieślowski, It is interesting to me to see a connection that I had not noticed before. This is especially interesting to me, because the film has different connections between the characters. In the film Irène Jacob played two characters who look exactly alike. One is French, and the other is Polish. They both feel as a special bond to the other without knowing that the other really exists. One dies after following a career path, and the other avoids taking the same career path without really knowing why. That is an over simplification.
Kieślowski and Zbigniew Preisner, the composer of the scores of several of Kieślowski's films, created a fictional composer, Van den Budenmayer. There are references to his music and examples of his music in several of Kieślowski's movies. Van den Budenmayer is referred to as an eighteenth century Dutch composer. It is funny to me that there have been people who claim to know all about his music and his life. He never existed. This is particularly funny to me, because the compositions sound very much like the music of Twentieth-Century Poland and not Eighteenth-Century Holland.