Nikolaus Geyrhalter doesn’t give up aesthetic experimentation altogether in this survey of Anthropocene calamities.
A real yet illusory world is evoked so seamlessly that it also feels just one step away from pure cinematic fiction.
Geyrhalter seems to treat a decomposed space as a form of letter for some kind of alphabet to emerge.
Abendland offers an austere index of the wide-ranging uses of after-hours technology.
Abendland is more than a meditation on how our lives, from birth to death, have become mechanical, and so aseptic.
Richard Linklater isn’t adept at seeing multiple narratives through to their various plausible conclusions.
This is a unique audio-video sensory experience, most striking in the exactness of its aloofness and monotony.