Gerrit Knobbe is the reed. With the opening of “Reedland”, we meet it in its natural homeland, surrounded by the whispering, and the reed was brought in close, then in a wide shot. It is an audio and visual maze, which is equivalent to the natural world of fixed TV: the land associated with the land, the clay roots and the skill threat in the illusion of sleeping unification. The reed is the perfect place to hide for the horrors, as it will become clear soon, when the girl’s body is detected in dirt, with all impotent.
A violent crime that breaks a coherent society is hardly a new topic for Arthouse, but is dealt with here by the writer and director Sven Bresser with original eyes and a severe feeling of how to generate a continuous atmosphere of the introduction. It was photographed at Weerribben-widen in the Netherlands, and the landscape is an integral part of this calibration accurately. The “whisper” is likely to be the most connected trait of reeds, giving the Earth a flagrant feeling of harboring the endless witnesses who cannot talk about the crimes they saw – at least, not in any language we can understand.
The well -chosen place titles are more than just a suitable guidance for the audience. When using it wisely, they cultivate the flag on this site, link the place and the film together forever. “Reedland” is not a city or road name, but the terrain that provides the physical and psychological environment to study poetic personality.
Knobbe is an extraordinary presence like Johan, and it is a widow of work in his job for decades, and he is now very wondering. While the camera is studying the face of the weather, you watch it, in an attempt to put the movie “Pringr Bergman” that you may know from it. But he is not an actor, and you have not seen it before. It is an actual cane priest, discovered by Praceer during the search and construction of the film, which makes his supervisory performance tightly more impressive, and provides convincing evidence of Praceer’s willingness as an anti -talent and performance coach.
Knobbe’s face is formed through his work in the open air, in a way that you do not see simply with actors at the present time, when a high percentage of men and women appears to participate in non -intuitive questions to make their faces, the primary tool for the actor, less expression. On the contrary, Knobbe’s gives a live experience – it’s its Craggy scene, which is not calm.
In addition to Bergman, the proportions of European film makers that include these dark cinematic openings that have been accurately judged such as Michael Hanek and Thomas Vintberg. But “Redland” also remembers the masterpiece of Japanese director Kanito Shindo in 1964 “Onbaba” with hints of supernatural evil. There, as here, Redland is presented as a multiplication land for more than just mosquitoes: it contains madness and murder. The two films participate in some visual strategies, with reed clips such as Labyrinth as much as it was now 60 years ago.
Don’t indicate that the DP SAM du Pon camera just gets landscapes to work with. Many short articles for the presence of a small community in both Public and Private Pall Bresser and Du Pon the opportunity to explore how people agree with themselves in public and private, one time through the exact frame of a snapshot where Johan participates with pornography on the laptop, and we look at his artwork by his granddaughter installed on a wall in the background.
Through the time of tight operation, the central central performance and the dark theme but it is convincing, the theatrical possibilities can be rewarding for the appropriate ARTHOUSE distributor. This is a film designed to be watched on the big screen, and although it is certain that it must have the attractiveness of high -ranking signs, it will be unfortunate to see that it exceeds the cinemas. For the masses looking to raise a step from the standard killing of Scandi-Niir on TV while staying firmly in the world’s narrative cinema world, “Reedland” is a great discovery.