Film Critic & Contributor for the International Cinephile Society.
At some point, the main character says that "progress is unachievable" and I feel it beautifully encapsulates Petzold's fascination with mankind's inability to learn from the past (the political subtext regarding Berlin's architecture was fascinating too). I appreciate how he embraces and subverts the basic principles of German Romanticism; there's tragedy, finality, and a deeply melancholy sense of inescapability - which is further highlighted by the exclusive and continuous use of Bach's Adagio. But there's also hope and generosity. This…
Justine Triet’s most penetrating and ambitious film to date.
SIBYL is about the art of (re)creating, (re)living and (re)inventing one’s life. Surprisingly free and grounded despite its experimentations on form and narrative structure. Successfully navigates through different film genres, blending its (cinematic and literary) influences and various seemingly contradictory elements into something utterly fresh and singular.
“Sometimes I feel like a motherless child. A long way from home, a long way from home.”
“Normally, I don’t sleep very well. I get three or four hours sleep at best. Since coming here, I’m sleeping much better. It’s as if I’m synchronizing with that soldier. Or maybe he’s sleeping for me.“
This is the culmination of Weerasethakul’s career and quite possibly the most important film of the decade. A seamless coexistence of the political and the personal; a melancholy ode to one’s country and a moving non-judgemental love letter to its people. Rarely have simple gestures of genuine affection and care been depicted so beautifully in cinema.