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‘The Light’ Review: Tom Tykwer Blasts Us With Issues but No Reason to Engage in Overlong Berlinale Opener
Once an exciting voice in German cinema, 'Run Lola Run' director Tom Tykwer has run out of things to say, delivering a bloated and unclear diatribe.
Although “The Light” is by far his most personal project to date, it would be downright surprising if the film (which Warner Bros. will release next month in Germany) finds a berth in any other major markets — despite half a dozen kooky musical numbers and the doom-like urgency Tykwer brings to its telling. As if mesmerized by the blinking light in a distant apartment widow, DP Christian Almesberger’s drone-powered camera floats through the rainy Berlin sky to find Farrah sitting before a high-frequency strobe lamp with her eyes closed, while the LED device flashes in her face. While everyone else is distracted by their devices, we see Tim bike home in the rain, then strip the moment he steps through his front door, as if ridding himself of the toxic modern world … even as he fails to notice the dead housekeeper at his feet.
Or read this on Variety
