Luz

... by a self help group from a secure psychiatric asylum to replicate the images they live with when not on their prescribed medication. That, or the cast and crew had discovered and used LSD just before filming began. You may need to do the same to make rhyme or reason of any of this.

An impressive little artsy film. Some really haunting imagery. I personally just needed a little more story. I mean, it's there. There is a narrative thread in there, but I personally would have enjoyed a more flushed out story. Nevertheless, it's a intriguing watch. Definitely some things in here I've never seen before. Enjoyed it.

I see how this film could be a near perfect little film, or a complete bore, depending on the viewer, so to qualify my comments let me make two observations right up front: this is a film about the supernatural - not the ghostly or the horrifying or the bloody, but the mystery and menace of something that is beyond the natural as we know it. That moment when you realize you might be part of something you never thought was "real" as opposed to being chased by monsters (although there is some blood, and some violence to be fair). And if you are not a viewer who is attuned to the sense of disquiet, or who can find suspense in seeing something not quite right and wondering why or where it may lead, then this movie will not resonate. Do not bother. You'll get impatient or be bored. But if you find yourself intrigued and captivated when, say, someone's behavior in a bar seems weirdly unnatural, then drop everything and gives this film a chance! It is like the best of the early David Lynch before he become a terrible parody of himself; when he could imbue a doorway or a radiator with menace by the intensity of his gaze and the music and sound that accompanies it. In this film, more often then not, it is in the eyes of the characters and how long they stare before they speak. If you are attuned to such nuance this movie will creep you out from the very first shot.

A comment by another reviewer perfectly sums up the difference between potential viewers: they said that one scene was a man "pointlessly" setting up chairs; however if you are the kind of viewer who would immediately notice he is arranging the chairs like a taxi cab for some sort of re-enactment, and start wondering how any role-playing is going to tie in and where will it lead, then this is definitely your kind of movie.

I loved every minute of it and I was greatly impressed by the increasingly clever manner in which a simple set-up was being developed. I don't want to spoil any surprises by even hinting at what I mean by that statement; for the right audience the best way to experience this film is in complete ignorance of where it is going and how its going to get there. I had heard only that it was frightening, but it is more of the disturbing uneasy variety as opposed to the jump-scare traditional fashion and I, for one, found it legitimately suspenseful throughout (and that even includes the lengthy single take set-up at the very beginning). Excellent performances, assured direction, effective use of limited locations - this film has everything going for it in addition to a familiar concept developed in a completely original and stimulating fashion.

For the right audience, that is.

Not the easiest film to find, I'd wanted to watch this for a while after the trailer did what all good trailers should do. I'm hooked to start, with a opening shot that's held uncomfortably long, ambitious considering the overall thrifty run time. It's stark with a retro grade and worn VHS look. The minimal aesthetic really appeals, but there's something missing, there's very little warmth or investment in the characters, with a palatable dirt on screen that permeates everything. For all the tension being ramped, the grime, the editing, the hyper scripted dialogue, it all slowly pulls apart. Despite it's stunted plot of a devilish nature and generally undesirable characters, there are some pluses. The score being one, reminiscent of an 80s slasher flick, it's definitely the films strongest asset. The European art house feel makes it feel cinematic, intentionally confusing in nature. Scenes built around slow creeping shots, almost entirely on one set, with often inactive people, waiting. Director Tillman Singer clearly has a thing for Lynch. As things progress it does manage to find its feet, with a second act reminiscent of a small theatre play, time frames overlapping, lines twisting through their own narrative into others, it's wonderfully bonkers, albeit a tad overplayed. It's all precursor to a truly off the wall finale, that although ambitious, really just doesn't work and ends in a bit of a disjointed mess. It really doesn't live up to its trailer, but I'm still pleased I gave it a go.

I was in the mood for a heavy art flick, so I was already bracing myself for a lot of languid pacing and droning shots. Luz definitely scratched the itch and aesthetically I really enjoyed it. It feels very much like vintage Cronenberg, using 16mm film and a lot of well framed slow pans as well as a wonderfully moody synth score.

The way the narrative is expressed is vague and nonlinear. I realize this is part of the overall style, but can't help but feel it was taken a step too far. I'll admit I lost track of what was going on at points, and it was only through digging online and re-watching scenes afterwards that I was able to piece it all together. It's aim isn't for "anything goes" surrealism, there's actually a cohesive plot that's steeped in horror/sci-fi tradition, you just gotta do some work to put it together. If you enjoy unravelling riddles, this might be up your alley, but I personally prefer films you can decipher on the first watch. At only 70 minutes, there certainly was room to spell things out a little bit without fully loosing the abstract edge.

I've heard this was a student film, if so, great work, keep it up! I love your vibe, but can you help me out and explain things a little more next time?