Stellet Licht: Quad, July 25 and 27, 2008
Unless you're more alert than me, you have no idea that the Quad is hosting a Hola Mexico Film Festival, and that Carlos Reygadas's remarkable Stellet Licht (Silent Light) is screening there on Friday, July 25 at 3 pm and Sunday, July 27 at 1 pm. Here are my unusually fragmentary observations on the film, from my Senses of Cinema 2007 Toronto wrapup:
"Mexican director Carlos Reygadas’ Stellet licht (Silent Light) is one of the acclaimed Cannes titles that has already received extensive coverage – and yet commentators have had difficulty finding a conceptual framework to integrate such hot-button aspects as its conspicuous borrowings from Dreyer's Ordet (1955), not to mention the seemingly self-sufficient virtuoso tableaux that begin and end the film. It's becoming increasingly clear that Reygadas skews more postmodernist than modernist, and perhaps his suggestions of a unified aesthetic enterprise (like the clock that is stopped early in the film and started again after the climax) are red herrings. The extraordinary physicality of his camera style, and his fascination with large-scale systems (natural, organic and mechanical), serve largely to defamiliarise the world; and his visuals can be seen as an attempt to remove camera movements and compositions from their traditional interpretive role, and to invest them with a weight and a physics that renders them autonomous."
"Mexican director Carlos Reygadas’ Stellet licht (Silent Light) is one of the acclaimed Cannes titles that has already received extensive coverage – and yet commentators have had difficulty finding a conceptual framework to integrate such hot-button aspects as its conspicuous borrowings from Dreyer's Ordet (1955), not to mention the seemingly self-sufficient virtuoso tableaux that begin and end the film. It's becoming increasingly clear that Reygadas skews more postmodernist than modernist, and perhaps his suggestions of a unified aesthetic enterprise (like the clock that is stopped early in the film and started again after the climax) are red herrings. The extraordinary physicality of his camera style, and his fascination with large-scale systems (natural, organic and mechanical), serve largely to defamiliarise the world; and his visuals can be seen as an attempt to remove camera movements and compositions from their traditional interpretive role, and to invest them with a weight and a physics that renders them autonomous."
Labels: screenings
posted by Dan Sallitt | 11:23 PM
1 Comments:
It's interesting that MOMA screened both Silent Light AND Ordet last weekend, where I went to both. It made for quite a draining double feature, although I would like to give Silent Light another chance-it's starkly slow pace was rather unexpected, but like all films that take their time unfolding their story, by the last half I was under its spell-much like every time I watch a Bela Tarr film.
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