Post Tenebras Lux

After the dark, light.

This is the nearest translation of this highly tentative piece of cinema whose story involves Mexican urban life, a couple in a whorehouse, a British rugby match with a guest appearance of devil himself.

At the epicentre a man and his family. On the surface he has it all; a nice house, a beautiful wife and two healthy adorable kids. Beneath that, not all that shines is gold as he struggles with addiction and needs pornography to inspire spousal intimacy.

Unfortunately and despite the high dose of creative filming the above is the only cohesive bit in this film. The added layers that aspire to connect to the title by juxtaposition of moments of light and darkness drove the film onto a one way street with lights out.

A very mixed experience

Mexican film 'Post Tenebras Lux' begins with an amazingly surreal opening sequence.It is a very crucial part of the film as it reveals the ways in which this film's young actors have been directed. Director Carlos Reygadas has not been able to capitalize a lot on the brilliant opening shots as much of the subsequent film is muddled and reeks of pretentiousness.Elements like literature and sex have been introduced by the filmmaker to convey hidden messages. In one instance there are people trying to outsmart each other by sharing their shallow knowledge of Russian literature by quoting some of its greatest authors namely Chekov,Dostoyevsky and Tolstoy. Reygadas also uses sex in order to delve deeper into pretentiousness as names of great philosophers such as Kant and Foucault are taken in order to portray a freaky encounter with strangers in a bathhouse.This film's biggest weakness is its complete absence of a clearly defined storyline which could accompany audiences in a meaningful cinematographic journey.Touted as a family film,'Post Tenebras Lux' gives the impression of merely being a convoluted personal vision of how a rich person behaves in a place surrounded by poor people with problems.The hapless audiences are puzzled as they have the right to know how the film is going to end. Hop la as it comes like a maddening shock.Watch and regret at your own perils.

Post Tenebras Lux and TO THE WONDER were my favorite films at Toronto's Festival in 2012. The plot description you get here on IMDb is as good as I could do so I won't bother with that. This film is like a cross between Malick and Lynch. It's beautiful, dark, bizarre and dreamy... and non-linear to add to the cryptic puzzle. Like Malick, the beautiful shots are about enough to hook you in... assuming you know how to experience a movie, not just watch what a studio spoon feeds you. Like Lynch, the dark underbelly of humanity is lurking beneath in a surreal fashion. Subconscious here we come! My favorite place to be! By the way, Reygadas won Best Director at Cannes for this. Now I hope I've added to the mystery, and didn't solve any of it!

Post Tenebras Lux (2012) is a Mexican film written and directed by Carlos Reygadas. It stars Adolfo Jiménez Castro as Juan, a sophisticated and wealthy man who lives with his wife Natalia (Nathalia Acevedo) and children is a rural area of Mexico.

The movie contains bizarre elements. Many bizarre elements.

Bizarre elements are not necessarily out of place in a movie, but none of these elements made sense to me. I couldn't see how they fit into any cohesive directorial vision. For example, every so often the movie cuts to a scene of English schoolboys playing rugby. This must be highly symbolic. My question is, Symbolic of what?

At one point Juan watches while Natalia has sex with a stranger in a steam bath. Ms. Acevedo is very beautiful. (In fact, an older woman who is facilitating the event keeps telling her how beautiful she is.) So, the scene has its merits in the visual sense. However, in terms of plot, the scene makes no sense, especially because at that point everyone is speaking French. (There is one really positive aspect to this part of the movie. It allows the reviewer to point out that this was a truly steamy sex scene.)

Director Reygadas won the Best Director Award at Cannes for this movie. The jury must still be laughing.

All the reviewers that superficially reacted to this film as just another self-indulgent art house ego trip made me laugh. I despise and ridicule art house pretension as much as anyone. But that's not what this film is. I'm not going to bother adding my insights and interpretations to the heap, you can do that on your own. And that's the point, if you can have a mind to make your own connections and formulate your own ideas, you should have no problems with PTL. Rich photography with shots that linger long enough to actually absorb them. A refreshing lack of the usual gimmicks: moving close-ups, romantic schmaltz and tearful, blubbering melodrama. The story is self-contained and original; the characters genuine and authentic; the style minimalist yet mesmerizing. Attributes sorely lacking in Hollywood and contemporary cinema in general. And Natalia's rendition of 'it's a dream' near the end was moving and impactful. Unlike anything that whining, glass shattering ol' hack Neil Young ever did. Not going to say it's perfect, but we need more like this.