Eugène Green is fascinated by actress Leonor Baldaque’s eyes, his own rigorous formalism, and the architecture, art, and music of Lisbon.
Walks a fine line between empathetic treatment of its characters and voyeuristic freakshow gazing.
It’s significant that Isaac is a man defined in opposition to the times in which he lives.
What incentive do we have as filmgoers to spend three hours fighting our way through all this calculated opacity?
Dull-minded and aesthetically pleasing only in the most academic of ways, the film adds up exactly to the sum of its parts.
More than death, whose physical treatment reached its apotheosis in Everyman, Nemesis is about guilt, the nagging guilt that can leave a person spiritually paralyzed for life.