Carlos Reygadas

  • Carlos Reygadas – Post Tenebras Lux (2012)

    2011-2020ArthouseCarlos ReygadasMexico

    Juan and his urban family live in the Mexican countryside, where they enjoy and suffer a world apart. And nobody knows if these two worlds are complementary or if they strive to eliminate one another.Read More »

  • Carlos Reygadas – Adulte (1998)

    1991-2000ArthouseCarlos ReygadasMexicoShort Film

    A man, a coffin, a cliff. Bunuelian and surrealist in tone, yet not without humour.
    A short film, shot in black & white 8mm.Read More »

  • Carlos Reygadas – Japón (2002)

    2001-2010ArthouseCarlos ReygadasDramaMexico

    In this preternaturally assured feature debut by Carlos Reygadas, a man (Alejandro Ferretis) travels from Mexico City to an isolated village to commit suicide; once there, however, he meets a pious elderly woman (Magdalena Flores) whose quiet humanity incites a reawakening of his desires. Recruiting a cast of nonactors and filming in sublime 16 mm CinemaScope, Reygadas explores the harsh beauty of the Mexican country­side with earthy tactility, conjuring a psychic landscape where religion mingles with sex, life coexists with death, and the animal and spiritual sides of human experience become indistinguishable. A work of soaring ambition and startling visual poetry, Japón is an existential journey through uncharted cinematic territory that established the singular voice of its director.Read More »

  • Carlos Reygadas – Nuestro tiempo AKA Our Time (2018)

    2011-2020Carlos ReygadasDramaMexico

    A family lives in the Mexican countryside raising fighting bulls. Esther is in charge of running the ranch, while her husband Juan, a world-renowned poet, raises and selects the beasts. When Esther becomes infatuated with a horse trainer named Phil, the couple struggles to stride through the emotional crisis.Read More »

  • Carlos Reygadas – Batalla en el cielo aka Battle in Heaven (2005)

    2001-2010ArthouseCarlos ReygadasDramaMexico


    Batalla en el Cielo, Carlos Reygadas

    The sequel to Japón is a big-city story of demise in mega-city Mexico about a fat driver, the beautiful daughter of his boss and the surprising confession of an unforgivable crime. Upsetting and exciting existential drama by one of the world’s greatest film talents.
    Immediately following its première in Cannes, the alarming and exciting Battle in Heaven split the film world into friend and foe. Many pages have been dedicated to the social, moral, existential and cinematographic aspects of Carlos Reygadas’ second film. He tells the story of a simple, big-city crime that – accidentally yet predictably – becomes an unforgivable one: Marcos and his wife kidnap a baby – and the baby then dies. Reygadas is not interested in the hows and whys of this act, for which neither church nor state can offer a truly redeeming punishment. What is important is the way that Marcos, a simple driver working for a rich general, reacts to the tragic outcome of his action. Seeking redemption, Marcos confesses the crime to Ana, the beautiful young daughter of his boss and a prostitute in an upmarket brothel. One crime leads to another, and Marcos’ path leads him on a pilgrimage to the Basilica Guadalupe. Starting and ending with both class-conscious and controversial scenes of fellatio, Battle in Heaven is an uninhibited, ambitious must-see film with its rather mysterious title, its grand camera movements (works of art in themselves, shot by Diego Vignatti), references to Rossellini, Tarkovski and Buñuel, and its meticulously-composed mise-en-scène and impressive soundtrack. [from IFFR catalogue]Read More »

  • Carlos Reygadas – Stellet Licht aka Silent Light (2007)

    2001-2010ArthouseCarlos ReygadasMexico


    The Carlos Reygadas guide to cinema:

    The film is everything: “I’m not pursuing ‘a career’, or trying to make a point like Godard, who had these ideas of cinema and wanted to prove them through his films. His films are just essays trying to prove a preconceived theory, and that’s why I don’t like them very much. I feel films have to be pure – projections of vision and feelings, rather than make references to things outside of them. For me, they have to be spheres: self-containing.”

    Make cinema for adults: “I’ve never understood all those children’s films about animals that talk and little animated spoons. When they ask me what I think of Harry Potter and Lord of the Rings, I always say, ‘I don’t understand them, they’re for children.’ And when I was a child, I didn’t understand films for adults and now I don’t understand films for children. I don’t understand why so many people understand films for children.” …Read More »

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