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This article is an analysis of the film La Double Vie de Véronique; (The Double Life of Véronique; de la Fuente & Kieslowski, 1991) from a Lacanian psychoanalytic perspective. It explores significant differences in the experiences of two women, roles played by the same actress, presented in the film as identical in appearance, living in different places at the same time, and sharing similar life challenges and opportunities. The differences manifest themselves in their relation to the women's remarkable singing ability, their lovers, and familial figures. The early loss of the primary object, the mother, determines both women's being—one of the women more on the side of the normative woman, covering over the loss at the price of death, the other mourning the loss more subtly but no more immune to the forces within her. Both demonstrate Lacan's (1975) axiom that “Woman does not exist,” namely, that she lives precariously near the real, on the boundaries of the symbolic and the imaginary.