In the world of Greenaway, separation can be a terrifying thing.
Severin’s release captures Greenaway’s black comedy in all its sumptuous beauty.
Greenaway discusses his ideas about cinema and the limitations of text-based filmmaking.
What comes through clearly by the end of the film is the act of one artist’s eccentric generosity breathing new awareness into the life of another.
This is a glorified laser light show, which feels half-assed despite its booming complexity.
Most viewers are unlikely to share the depth of Peter Greenaway’s art-geek obsession with this purported murder mystery in oils.
Our man Greenaway stands alone in contemporary world cinema, for better or worse.
The restored anamorphic transfer looks quite good and vivid despite the occasional scratch and some pale skin tones.
Greenaway creates his thesis over the decaying corpses of animals, which doesn’t inspire a middle-of-the-road kind of viewer response.
In many ways, the film suggests a puzzle book for intellectual aesthetes.