Movie news on your iPhone today!
Advertisement
Coverage of what is truly interesting in the film world

TOP STORY:

SILENT LIGHT Review

SILENT LIGHT Review

Karina Longworth
By Karina Longworth posted 10 months ago
  • del.icio.us
  • Technorati
  • Reddit
  • Ma.gnolia
  • YahooMyWeb
  • Facebook
  • StumbleUpon

“Tell me why I should go see a fucking movie that’s in Mennonite!” — Joshua Rothkopf.

Consider the gauntlet thrown down. The above quote comes from a “pubcast” posted last week by Aaron Hillis on his first day as editor of GreenCine Daily. In this conversation between Hillis, Rothkopf, David Fear and Matt Zoller-Seitz, about where film criticism currently is and where they’d like to see it go, the verdict seemed to be that everyone would like to see more clear-headed advocacy, free of snark and academic flourish. The film implicitly referenced is that pullquote Silent Light – which, though made by Carlos Reygadas in an Mexican Mennonite community and featuring a number of real-life Mennonites in lieu of professional actors, is not “in Mennonite,” but the obscure German dialect Plautdietsch. That kind of quibble, of course, doesn’t really matter. What does matter, is a) that Silent Light is finally having its official for-profit US premiere tomorrow at Film Forum in New York City, and b) Rothkopf’s point is valid. The thing most expressed by most Stateside writers (including myself) to audiences about this near-masterpiece has nothing to do with what’s actually on screen. It’s that, since the film’s debut at Cannes in 2007, Silent Light been rather difficult to see.

That wasn’t intended as a pun, but maybe it should be taken as one: though Light’s path to US distribution has been both thorny and worth noting, it’s also a relatively painless thing to put into plain language. The experience of actually watching Silent Light is not summarized so easily. At its basest level, Silent Light is a film about the gulf between what we can explain (based on evidence and experience and a common language for things that happen to all people) and things we can’t, things which push our understanding of the way the universe works and what it means to be a part of it.  Like any number of visually extraordinary epics about big ideas which open up new avenues of interpretation on each viewing (2001 is the example that, perhaps oddly, comes quickest to my mind), words are not always its best advertisements.

This is what I can say, in the plainest language in which I can say it. …Read more