Længde: 113 minutter
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̈̈̈̃~~Stark theater lighting and a square image is instant Ingmar Bergman.~~
This is a flippant and ignorant statement. Obviously Schrader was inspired by Ozu's and Bresson's transcendental style (at least according to Broey Deschanel).
Things fall apart when they come too much together. It's just a little too convenient to have cancer come in and be the driver of what is some interesting moral conundrumming, and the swerve at the end straight into the bridge pillar of love fixing everything did not sit well with me.
But perhaps I was taking it all a bit too literal, as some have suggested Mary's return was actual a vision in death. Am I unsuited for the subtle spiritual work of trascendental film? Do I mistake starkness for literality?