Vadim Rizov Reviews In The Fog

One of post-millennial festival filmmaking ’s favourite locations is the forest. In addition to Apichatpong Weerasethakul’s arboreally obsessed work (Blissfully Yours, Uncle Boonmee Who Can Recall His Past Lives), there are movies as dissimilar as Lisandro Alonso’s Los Muertos, Carlos Reygadas’ Post Tenebras Lux, Miguel Gomes’ Our Beloved Month Of August and Gus Van Sant’s Last Days. The visual appeal is obvious, even as the setting approaches cliché: the hypnotic textures created by trees and leaves in constantly shifting light, tiny variants usually amplified via low, slow tracking shots.

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