I'm putting this a bit sharper than the film deserves. Many people have written wonderful things about it film, and I agree: It is a treasure. Still... still... I have a problem. A problem I already had with Reygadas' first feature, "Japón". Reygadas, I think, is still struggling to find his own voice. He is working in the tradition of philosophical parables of the likes of Tarkovsky or Dreyer, but he combines this austere and perfectionist style with an empathy and enthusiasm for everything that happens in front of his camera which is almost documentary-like. He clearly loves the things his camera can see, the buildings, the machines, the everyday events. If he manages to get these two strands of his film-making into perfect synthesis, he will produce masterpieces. Yet, right now, there's a problem. At the end of this film, he does something which is extremely risky, in terms of philosophy and storytelling, and you have to be very sure of yourself to pull it off convincingly. Unfortunately, Reygadas makes it look like a rip-off. When Marianne enters the room where Esther is laid in state, there is a shot that made me think immediately: "Hey, this looks like Dreyer's 'The Word'". And then, the same thing as in "The Word" happens... Sure, it's also different, and the meaning is somewhat different, too. Still: If you immerse the viewer into the unique world of your film, as this one does, you don't want him, just near the climax, to think of a different movie. If you still struggle to find your aesthetic standing, don't burden your movie with the memories of an unsurpassable masterpiece. As I said, the same thing in "Japón" - that film is strewn with references to Tarkovsky (you can see them here, too, but they are less obtrusive). So, as good as "Stellet Licht" is, the Tarantinoing of its ending almost killed it for me. Reygadas has masterpieces in him - he just needs to stop referencing his masters; or he has to turn ironic. (This is the way Jarmusch gets things done; but would that be good for Reygadas? I think not.)
Review of Silent Light
