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Posts Tagged ‘Carlos Reygadas’

Gwendolyn Audrey Foster on Post Tenebras Lux

Monday, July 8th, 2013

Gwendolyn Audrey Foster has a new essay out on Post Telebras Lux in Film International

As Foster points out, “I’m always attracted to films that cause an uproar, critical polarization, outrage, anger, dismissal, and confusion. Thus I was drawn to the Mexican film Post Tenebras Lux when I read about the decidedly mixed critical reaction it received at the 2012 Cannes Film Festival. It was loudly booed, some critics were openly hostile and dismissive towards it, and yet Carlos Reygadas, who directed the film, was awarded the Best Director Award at the same festival. Audiences at Cannes, though, have a history of booing films that are later hailed as masterworks. BAMcinétmatek recently ran a series of films that most agree are masterpieces, but were initially rejected and “booed” at Cannes. Films such as Buñuel’s El (This Strange Passion, 1953), Antonioni’s L’eclisse (Eclipse, 1962), Dreyer’s Gertrud (1964), Scorsese’s Taxi Driver (1976), Bresson’s L’argent (1983) and Cronenberg’s Crash (1996) are among the list of films that were initially met with loud jeering, harsh criticism, and general incomprehension.

After a cursory glance at reviews, I fully expected an almost incomprehensible, dull, self-indulgent, inscrutable and difficult, if not impossible film. I figured I could always leave early if it was downright awful, but I had a sneaking suspicion that it might be quite the opposite, and my suspicions were more than confirmed. I am so thrilled that I was fortunate to see such a dazzling and beautiful film projected on the big screen. Where others found an overly “demanding” and “difficult” film, I felt Post Tenebras Lux was anything but “difficult.” I experienced the film as an exhilarating and sublime poetic examination of patriarchy and class wound into a liberating and absorbing dream-like narrative deliciously open to interpretation and openly imaginative.

Post Tenebras Lux is purposefully rendered precisely in the realm described in Buñuel’s words, “somewhere between chance and mystery.” Like Luis Buñuel, Carlos Reygadas values highly both freedom and imagination, and I find it very disturbing that so many critics, those whom should champion films that embrace the dream state between chance and mystery, reject the film as too difficult. Carlos Reygadas actively gives the gift of freedom of interpretation to the audience, but, unfortunately, many critics seem to reject that free space of imagination that Buñuel valued so highly. Ironically, ‘Post Tenebras Lux’ translates from Latin into ‘Light After Darkness.’ Perhaps if critics would return to the film for a second viewing, they may be lucky enough to experience that revealing glow and step out of the darkness into light.”

You can read Foster’s entire essay by clicking here, or on the image above.

Post Tenebras Lux (Light After Darkness)

Sunday, May 12th, 2013

I just got back from a research trip in New York City, where I saw a brilliant film.

I saw Post Tenebras Lux at Film Forum, and was absolutely mesmerized by the film. As Film Forum’s official notes for the film explain, “Post Tenebras Lux (‘light after darkness’) is a new autobiographical feature from acclaimed director Carlos Reygadas, winner of the Best Director prize at the 2012 Cannes Film Festival. Ostensibly the story of an upscale, urban family whose move to the Mexican countryside results in domestic crises and class friction, it’s a stunningly photographed, impressionistic psychological portrait of a family and their place within the sublime, unforgiving natural world.

Reygadas conjures a host of unforgettable, ominous images: a haunting sequence at dusk as Reygadas’s real-life daughter wanders a muddy field as farm animals loudly circle and thunder and lightning threaten; a glowing-red demon gliding through the rooms of a home; a husband and wife visiting a swingers’ bathhouse with rooms named after famous philosophers. By turns entrancing and mystifying, Post Tenebras Lux palpably explores the primal conflicts of the human condition.”

When the film was screened at Cannes, there was a near riot, and many of the audience members walked out in protest, but for the life of me, I can’t figure why. The film’s narrative is at once straightforward and filled with magical realism, as in the scene, pictured above, in which a glowing red demon silently enters a middle class house, toolbox in hand, intent on wreaking havoc in his wake. Indeed, I’ve seldom seen a film that was more accessible, and at the same time more mysterious, lingering in the memory long after the final images have faded from the screen.

Click here to read an interview with the director, Carlos Reygadas.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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