Silent Light

At its very best, Carlos Reygadas’s new fi lm has the richness of Malick or the transcendental simplicity of Ozu; at its occasional worst, it has the whiff of Lars von Trier. But make no mistake: this is a deeply considered, formally accomplished, beautiful looking and unexpectedly gripping film from a director making a giant leap into the first rank of world cinema.
– PETER BRADSHAW, THE GUARDIAN

Shades – and, by the end, big, unmistakable splotches – of Carl Dreyer’s Ordet color Silent Light, the third and certainly most unexpected film from Mexican cinema enfant terrible Carlos Reygadas. Repping an about-face in setting and tone from helmer’s 2005 Cannes shocker Battle in Heaven, Light tells a muted story of adultery and spiritual crisis unfolding amidst a modern-day Mennonite community. Reygadas’ typically arresting widescreen visuals and the presence of non-pro actors speaking in German-derived Plautdietsch makes for an initially hypnotic combination.
– SCOTT FOUNDAS, VARIETY