still from Stellet Licht
Stellet Licht or Silent Light is the third film by the always fascinating Mexican director Carlos Reygadas. He previously directed Japón in 2002 and Battle in Heaven in 2005. Both films are incredible visual experiences and worth seeking out. Stellet Licht premiered last night at The New York Film Festival and luckily I got to see it.
The film opens with a mind blowing and gorgeous extended time lapse shot of a swirling starlit sky, the camera then settles on an expansive landscape in the dark slowly turning into day. It’s the kind of shot where you’re constantly wondering what the hell could possibly come next? I guess that’s the risk you take in opening with a shot like that since almost anything would be a let down.
Stellet Licht is essentially an exploration of a love triangle set within a Mennonite community in Chihuahua, Mexico. The language of the film is spoken in Plautdietsch and the most of the actors and extras are real Mennonite people. The film has a very authentic feel to it and the pacing is studied and lyrical. Since I didn’t know too much about the film beforehand I kept wondering where and when it was taking place. It’s in no way an easy film to sit through, but one that rewards greatly with patience and careful observation. Light is given a spiritual and metaphysical weight throughout the film and I wouldn’t be surprised if it was shot with mostly available light.
There’s a great moment towards the middle of the film when some children are watching this 1967 Jacques Brel performance on television. It’s comes out of nowhere but it’s really warm and touching to see the kids laughing and smiling at this strange and sweaty man singing in French.
Many people are referencing the great Danish filmmaker Carl Dreyer as a big influence but I couldn’t stop thinking about about the Lars von Triers connection. Stellet Licht has a number of things in common with the heart wrenching and harrowing Breaking the Waves from 1996 (if you haven’t seen it, better get to it). I won’t give either film away but both attempt to do something quite transcendent towards the end. I’m not sure either one succeeds but it’s certainly amazing to watch.
One of the things I like most about going to NYFF screenings is for the artist conversations that take place afterwards. Sometimes it can be annoying to sit through but other times it can be pure magic and you get great insight into a filmmaker’s process. With Carlos Reygadas it was like filmmaking demystified, I wish I had recorded it.
In lieu of a recording, here are a couple of links to some interviews. You can really get a sense of how and why he works the way he does. You also begin to understand that he just does what feels natural to him. Isn’t that always the best recipe for making powerful art?
See Stellet Licht when it comes around. Take a chance, it’s certainly worth the energy.
Watch the trailer.
Side note: See the Wes Anderson Q & A session from The Darjeeling Limitied premiere as well.
Horses Think 