Larry Martin11
Active Member
141 messages
joined Feb 2008
...I honestly don't follow what you guys are getting at, really 🙂 but I’m glad that if a movie is going to stir up this much controversy, it’s Starlight—because that one actually means something to me 🙂
..and why is it great?
...it's because Reygadas is a true poet. He takes what is essentially a conventional setup—a man juggling two women at once, where one is his wife and the other is clearly the mistress, and he's torn by it all (not just because he feels it clashes with his beliefs, but because he can't quite "justify" his love as a sin, since at the end of the day, love is just love, yet he doesn't want to hurt either woman, making him hyper-aware of the roles he has to play)—and he turns it into something anything but cliché. It becomes a film about the incredible power of love and the hope that comes with it. Sure, he’s conflicted due to his starting position (personally, I had no issue accepting that two women are suffering or even dying because of one man, since his own inner turmoil is the focal point, and in a multidimensional world, everyone's pain carries weight—but the only man I watched this with absolutely couldn't get past it; to him, the director's refusal to protect the female leads, instead subordinating them entirely to the man, was horrifying, unacceptable, and a total dealbreaker...), but if you take it as it is, it offers a phenomenal mirror to how we love and how we try to cling to our emotions. For Reygadas, love is often a source of pain—the overwhelming love the lead feels for both women actually ends up killing them, some literally—but in the end, it's also a source of life. That refusal to let the person you love suffer becomes the literal force that unites two women who shouldn't love each other, yet their shared love for a third person becomes their connection; which is why Esther's first line is "poor John"... and besides that, it's shot divinely (that opening shot 😍 ), and every single scene carries deeper meaning. These aren't those long, drawn-out scenes you see in typical "festival movies" just because "that's what you do"—every moment actually holds an idea, illustrates the characters' internal states, creates a "calm before the storm," plays with symbolism, or sketches out things we can't see (my personal favorite: those two little houses and the cypress trees swaying in the wind while John is with his mistress 😍, and of course, the fact that Esther makes such good climbing rope 🙂)...
...is that enough? 🙂 I could go on until tomorrow; the film has a place in my heart—even if I still think it's the weakest, most conventional thing Reygadas has done... Japan remains my number one 😍