Post Tenebras Lux (2013)
Post Tenebras Lux (2013)
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Critic Reviews for Post Tenebras Lux
Reygadas' jagged, broken-logic drama lurches from fantasy to earthbound complications, though it is often hard to tell one from the other.
The result calls for a viewing as different as looking at a Vermeer against Rothko or de Kooning or multiple other modern painters.
Along with Bela Tarr and Terrence Malick, Carlos Reygadas is one of today's few genuinely religious filmmakers.
Moviegoers beholden to clean narrative may feel they need their own explanatory GPS and audio guide. But the richer reward lies in allowing oneself to be led by this gifted director's instinct for lyrical, sensory exploration.
This one delivers a grand pictorialism and piercing existential moments that float atop the maundering narrative like noodles in soup.
Audience Reviews for Post Tenebras Lux
This experimental film of powerful imagery and evocative atmosphere may be intriguing at first, but soon it becomes pretty clear that Reygadas is not really interested in saying anything consistent in this aimless series of unrelated scenes that hardly come together.
While greatly appreciating Carlos Reygadas' two previous artistic conflicts of the body and the spirit, I am admittedly less than thrilled with his latest, "Post Tenebras Lux," despite its Latin title, cameo from Satan himself, beautiful scenery and one thing I have never seen in a film before. The problem arises from attempting to do a stream of consciousness movie which only manages to confuse matters behind any comprehension. What we do know is that Juan(Adolfo Jiminez Castro) and Natalia(Nathalia Acevedo) are a pair of wealthy landowners, who have a couple of infant children, Rut and Eleazar. In one graphic scene, Juan shows that he does not mind getting his hands dirty before attending an evangelical service in the woods with some of his workers where he confesses to his internet use which is nothing compared to the highbrow bathhouse orgy him and Natalia attend in France with rooms named for Hegel and Duchamp. That's the reality. The dreams are a little bit more tricky, as they are referenced a couple of times, first with a dream of Rut's and then when Natalia is later pounding out a Neil Young song on the piano. Everything else is a little less clear, as it all may circle back to a key incident late in the film, including flashforwards to Rut and Eleazar being older, first at a party and then maybe Eleazar at a boarding school in England playing rugby. Confusing matters beyond all despair are the occasional photographic distortions which could mean it's all a dream or maybe not. You decide.
Wow. Another bad avant-garde film. Two thousand thirteen is so far the worst year in living memory for avant-garde film.
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