Cycling image by image through the idea of things being revealed and unveiled, the dawn that sets the film in motion culminates in the eyes of Johan’s wife fluttering awake – her resurrection an event that is consistent with the film’s almost theological preoccupation with images slowly growing in clarity. It is also an event that makes a MacGuffin out Johan’s despair, an incarnation of the glimmering light that suffuses Reygadas’ natural cinematography.
Roy Anker has reviewed Reygadas’ Silent Light for Books and Culture. It features some nice descriptions of Reygadas’ overall effect: To see the world this way, as if through a pair of Vermeer-tinged eyeglasses, is, frankly, startling. Perhaps this is Reygadas’ foremost gift: his “eye,” his luminous apprehension of the physical world. Whether it be […]
We Filmwell writers are aficionados of the kind of films most people never hear about: foreign movies, realism, character-driven stories – the little, the obscure, the transcendent. Sure, we like our blockbusters, but sometimes it’s the little films that really sit in your soul. But that’s not what I’m thinking about today. My husband works […]