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![]() Tip of the Week Day Night Day Night
Russian émigré Julia Loktev’s fiercely controlled, compellingly opaque, gorgeously austere "Day Night Day Night" pares and parses sound and image as she quietly, methodically, observes a polite, tiny young woman of indeterminate ethnicity, speaking with flat, compliant American inflection, in the hours before a suicide mission in an unnamed city. (Loktev says she was inspired by the similar story of a Chechen bomber.) There’s tension, absurdity, comedy and, ultimately, silence. What are her politics? Who are her compatriots? Loktev’s background is in documentary and video installation, and much of her prior work depends on banality and repetition, yet as shot in mostly handheld high-definition video by Benoît Debie ("Joshua," "Irreversible"), the features of her unnamed protagonist (former copy editor Luisa Williams) attain as much power as Falconetti’s in Dreyer’s "Joan of Arc." (Really.) When you realize where she is and what she intends to do, all you can do is watch her face, and what Loktev gives you is her character’s face: sharp-featured, haunted, beautiful, lost, ready to die, ready to kill. (Perhaps not so ready to die.) Leslie Schatz’s impeccable sound design is a brilliant thrill, a glossary of how to create imagery without visuals, another necessary component of Loktev’s clinical intimacy. 94m.
"Day Night Day Night" opens Friday at Landmark Century.
Also by Ray Pride Life after Life
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Well Enough in the Margins
Bay Watching
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