Shades — and, by the end, big, unmistakable splotches — of Carl Dreyer’s “Ordet” color “Silent Light,” the third and certainly most unexpected film from Mexican cinema enfant terrible Carlos Reygadas.
For some, it's the last real taste of innocence, and the first real taste of life.
Shades — and, by the end, big, unmistakable splotches — of Carl Dreyer’s “Ordet” color “Silent Light,” the third and certainly most unexpected film from Mexican cinema enfant terrible Carlos Reygadas.
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