Melting Ink’s abstract image of the past is in the present, where the currents of history converge.
The film’s characters are suffused with a paradoxical kind of fear that can only happen in a dream.
The film blossoms into a breezily utopian depiction of a ménage á trois whose entirely matter-of-fact presentation sets up an intriguing dissonance.
The series shares with Sátántangó an interest in dissecting a social environment, uncovering unsavory human truths in the process.
Unlike the dire Red Riding Trilogy, Dreileben occurs in vertical rather than horizontal time.