This review may contain spoilers. I can handle the truth.
yush’s review published on Letterboxd:
This review may contain spoilers.
kind of solidifies what my problems were with the happening because the ideas put on the table there are so much more elegantly and confidently realized here. night really leans into extracting almost every possible emotional tenor he could think of, whiplashing very deftly between the absurd intentionally misplaced humor and the devastating fallout and gravity of the situation that the characters are always subconsciously on the run from. the children being so precocious also indicates something about how the adults act too, as just precocious children themselves all along. this being said, i'm actually glad this didn't ruminate so much on itself, left a lot of the psychological, existential horror of the concept very implicit, and decided to run with something more gnarly and physical instead. i also love the ending, similar to the village in that it reorients the film's entire genre and also turns it into a sort of thought experiment, presenting an ethical question that it is not at all obligated to answer for you (though, out of obligation, gives a sensible resolution to the characters), also similar to lady in the water in such an amazing, satisfying, even wryly self-critical way, if you know you know.
can not even begin to overstate how hard this goes on an image-by-image level, i knew my dude would be shooting circles around everyone else rn but holy shit. much of it felt like a very unique language entirely of his invention but i will say i never quite got why he put satyajit ray in his top 4 directors till now: the way faces are often the primary vector of composition. but so many of these shots are seriously skincrawling, how these people struggle to stay in our lines of sight makes for a very intense experience. but so many poignant, romantic images too: the blurry pov shot of guy touching prisca's face is as good as grace notes get. also saw a lot of antonioni in this (plus w the whole upper middle class disaffectation angle). i saw him talk in an interview about how he wanted to have the camera exist almost independently of the characters' subjectivity specifically as a way to foreground time as a cinematic concept, by moving away from them or marginalizing them when they should intuitively be the center of the image and fixate on nature instead. on some kumar shahani shit? perhaps