I find greatness in the film.
I think it does have greatness, the greatness of late modernism where the void (The Void) is acknowledged, and, in varying degrees, feared, maligned, and dreaded (and ignored by the less awake) but awareness of it has dawned. The spareness of music is one element of late modernist art film, proponents include Antonioni, Bergman (later), and many others.
If the film had been made from a more developed, transcendent view, it might have looked at The Void with more love and compassion and light, dispelling the fear of death. But that doesn't lessen the achievement of the film; it's a beautiful modernist film, spare and very touching.
I want to add that Michelle Williams is marvelous and her aware performance anchors the unsentimental existential quality of awareness throughout.
I think it does have greatness, the greatness of late modernism where the void (The Void) is acknowledged, and, in varying degrees, feared, maligned, and dreaded (and ignored by the less awake) but awareness of it has dawned. The spareness of music is one element of late modernist art film, proponents include Antonioni, Bergman (later), and many others.
If the film had been made from a more developed, transcendent view, it might have looked at The Void with more love and compassion and light, dispelling the fear of death. But that doesn't lessen the achievement of the film; it's a beautiful modernist film, spare and very touching.
I want to add that Michelle Williams is marvelous and her aware performance anchors the unsentimental existential quality of awareness throughout.
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