event
Silent Light
414-229-4070
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Fri Nov 13
7 pm,
Silent Light at University of Wisconsin Milwaukee - Union TheatreUniversity of Wisconsin Milwaukee - Union Theatre 2200 E Kenwood Blvd, Milwaukee, WIIt’s not hyperbolic at this point—because many critics, even detractors, seem to agree—to say that art-damaged Mexican director Carlos Reygadas’ Silent Light (his third feature following Japón and Battle In Heaven) begins with one of the most magisterial opening shots ever filmed. The shot catches dawn breaking on a new day in a Mennonite farm in Mexico, but the idyllic exteriors stand in sharp contrast to the miseries inside the farmhouse, where the patriarch of a large family has betrayed his dutiful wife for another woman. Many have called Silent Light an extended homage to Carl Dreyer’s 1955 transcendentalist classic Ordet, but Reygadas often proves himself a sensualist with more in common with Terrence Malick than Dreyer.
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Sat Nov 14
7 pm,
Silent Light at University of Wisconsin Milwaukee - Union TheatreUniversity of Wisconsin Milwaukee - Union Theatre 2200 E Kenwood Blvd, Milwaukee, WIIt’s not hyperbolic at this point—because many critics, even detractors, seem to agree—to say that art-damaged Mexican director Carlos Reygadas’ Silent Light (his third feature following Japón and Battle In Heaven) begins with one of the most magisterial opening shots ever filmed. The shot catches dawn breaking on a new day in a Mennonite farm in Mexico, but the idyllic exteriors stand in sharp contrast to the miseries inside the farmhouse, where the patriarch of a large family has betrayed his dutiful wife for another woman. Many have called Silent Light an extended homage to Carl Dreyer’s 1955 transcendentalist classic Ordet, but Reygadas often proves himself a sensualist with more in common with Terrence Malick than Dreyer.
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Sun Nov 15
7 pm,
Silent Light at University of Wisconsin Milwaukee - Union TheatreUniversity of Wisconsin Milwaukee - Union Theatre 2200 E Kenwood Blvd, Milwaukee, WIIt’s not hyperbolic at this point—because many critics, even detractors, seem to agree—to say that art-damaged Mexican director Carlos Reygadas’ Silent Light (his third feature following Japón and Battle In Heaven) begins with one of the most magisterial opening shots ever filmed. The shot catches dawn breaking on a new day in a Mennonite farm in Mexico, but the idyllic exteriors stand in sharp contrast to the miseries inside the farmhouse, where the patriarch of a large family has betrayed his dutiful wife for another woman. Many have called Silent Light an extended homage to Carl Dreyer’s 1955 transcendentalist classic Ordet, but Reygadas often proves himself a sensualist with more in common with Terrence Malick than Dreyer.
It’s not hyperbolic at this point—because many critics, even detractors, seem to agree—to say that art-damaged Mexican director Carlos Reygadas’ Silent Light (his third feature following Japón and Battle In Heaven) begins with one of the most magisterial opening shots ever filmed. The shot catches dawn breaking on a new day in a Mennonite farm in Mexico, but the idyllic exteriors stand in sharp contrast to the miseries inside the farmhouse, where the patriarch of a large family has betrayed his dutiful wife for another woman. Many have called Silent Light an extended homage to Carl Dreyer’s 1955 transcendentalist classic Ordet, but Reygadas often proves himself a sensualist with more in common with Terrence Malick than Dreyer.
Updated 11/03/2009
