SCREEN GRABS Everything you’ve perhaps overheard about Robert Eggers’ feature debut The Witch is true. Presented in pre-widescreen (square) format 1.66 and set in 1630s New England, this pagan pageant (based on real writings from this pre-Salem witch-burning era) knows how to make the most out of very little. Quiet, thoughtful pacing enhances the meticulous costume and set design, punctuated by truly terrifying moments of shrieking horror.
Nicely wedged between Carl Theodor Dreyer’s Day of Wrath (1943) and M. Night Shyamalan’s savagely misunderstood The Village (2004), Eggers has created the perfect calling card to Hollywood’s streamlined reboot factory. He is slated to direct the remake of Nosferatu, and whether it will be continuation of F.W. Murnau’s 1922 classic and/or Werner Herzog’s revisionist take in 1979 with Klaus Kinski, know that The Witch is the subdued horror flick that has a lot of people rooting for him, including me.
Apichatpong “Joe” Weerasethakul has delivered yet another exquisite odyssey with his contemplative sixth feature, Cemetery of Splendour. Like his films before, it’s fruitless to talk too much about it. As Cemetery floats between characters in and around a hospital, the daily functions of human beings quietly collide with the surrounding natural and spirit world.