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Silent Light is a film written and directed by Carlos Reygadas. Filmed in a Mennonite colony close to Cuauhtémoc, Chihuahua State, Northern Mexico.
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There's barely a plot beyond what…. At a total loss for words. The stunning shot compositions and graceful simplicity moved me to tears. One of the best films I've ever seen. It sets the pace brilliantly, and tells a deceptively simple story in a straightforward way. Poor Johan, indeed! He's essentially saying that he struggled mightily but then he just had to have sex with her. The penis is stronger than the brain. That it's about destiny and love. He makes it sound like he's battling the devil. The devil inside his penis!

I'm going to stop saying penis now. Movies create a lasting impact on us. Very few movies are able to break the fourth wall and get into the deeper corners of our consciousness. One such movie is Silent Light -its profound like a Philosopher's speech, intensely moving like witnessing a departure and moulds the subconscious like a musical note. While analysing the basic plot, one may be of the opinion that this movie has one of the most easiest plots recently released but be prepared to witness the intricate and traumatic effects of the inescapable emotion called Love - it shows us the life of Johan, Esther and Marianne who are deeply in love with each other.

Johan being married to Esther becomes transfixed in love with….

The Best of Found striking similarities with a christmas carol of the same name; graceful and harmonious. A little disappointed tbh. From what I heard about this and Reygadas, I expected to love it. Maybe Post Tenebras Lux is more up my alley. Review by Charles Dennis. Carlos Reygadas bookmarks his film, "Silent Light" with the stopping and starting of a clock above a doorway.

Moving with unforced, almost geological slowness, Reygadas establishes, in a series of tableaux, the setting for a tale of forbidden love in a rural Dutch-dialect-speaking Mennonite community in Mexico, whose adherents wear the shawls and austere clothing of their northern European forefathers. The film begins with an audacious, extended shot of the sun rising, evidently achieved through time- lapse, but so slowly as to appear to be happening in real time - an impression subtly reinforced by the fading-in of the ever-present soundtrack of crickets, cicadas and lowing cattle.

Johan Cornelio Wall is a hardworking farmer whom we see at the beginning presiding over the saying of grace at a family breakfast. There are evidently tensions with his wife Esther Miriam Toews ; and we soon learn that he is having an affair with another woman, Marianne Maria Pankratz who is apparently unattached.

It is a love triangle that is to cause agony and tears, but not precisely the messy anger and voluble recrimination that we might expect from another sort of movie, or indeed from real life.

Reygadas's vision is more stylised than this. The pain of infidelity is floatingly suspended in a kind of trance, but arguably this is how people can and sometimes do deal with the transgression and pain of infidelity: a reticent, middle-distance-gazing sort of trance that allows you to ignore the elephant in the living room.

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I am not being entirely facetious when I say that the first mental port of call for viewers approaching this film might be Peter Weir's classic thriller Witness, in which Harrison Ford's tough cop finds himself hiding out in a Pennsylvania Amish community, and falls hard for Kelly McGillis's beautiful young widow. Many of Reygadas' group scenes of rustic peasant faces, in church, or eating breakfast in severe blondwood kitchens at the crack of dawn, do have a familiar look to them.

But in Witness, the sexual transgressor was alien to the group, and recognised as such by a group of clerical "elders". Here, Johan is one of the group, is denounced by no such authority and never publicly disgraced as such, even when the affair leads to a terrible tragedy.

As the camera moves from the macrocosmic grandeur of the heavens to the microcosmic realm of the human characters, the film sets up a dialectic between the natural world and the human world. We next see a family at morning prayers, their reverential silence interpenetrating with the silence of Nature. The head of the household is a man called Johan Cornelio Wall , who is married to Esther.

As Esther and the children finish their breakfast and are about to head out of the house, Johan says that he wants to sit for a while more at the dining table. As the house becomes empty, the camera focuses squarely on Johan. After a while, he breaks down and sobs inconsolably to himself.

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We learn later that Johan is racked with guilt over his illicit affair with another woman, Marianne Maria Pankratz. What is worse is that Esther has known about the relationship from the start, and thus hides her anger and shame within herself.

Dominic Miller – Water (from the album Silent Light)

Because of his inability to choose between Esther and Marianne, there is no possibility of renewal and transformation for Johan. Time stands still for Johan, as he sinks further and further into ennui and sterility. Indeed, Reygadas foregrounds this point in an astonishing scene.

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Johan, tortured by his situation and needing advice, visits his parents at their cowshed. After Johan enters the shed and requests to speak to his father, he suggests that they go outside to talk. As they leave the shed and venture outside, the film presents us with a shocking change of scenery: it is now winter outside the cowshed. This interrupts the narrative flow of the film, as nothing in the previous scenes have prepared us to this completely abrupt transition in the seasons. The viewer sees Nature at its most barren and deathly: there are no signs of life around the landscape.

For Reygadas, this eruption of winter points to death as the absolute stoppage of the passage of time. It is no accident that the whiteness of the surroundings at this point of the film is similar to the whiteness of the walls of the room where Esther is later laid in together with the coffin. Death tears apart the fabric of our existence, introducing absence and discontinuity into our experience of time itself. White Spaces: Outside the Barn. Curiously enough, it is Marianne who makes that choice for him, allowing him to reintegrate into his community.

During their last meeting, their lovemaking constitutes for Marianne a repudiation of her own desire for him. Marianne thus holds out the possibility for a renewal of time for Johan, as her effacement allows him to rebuild his bonds with his wife and children. However, he vacillates once again, telling Esther that he has been to see Marianne.