In more ways than one, “Fausto” is a film that likes to keep its audience in the dark: The bulk of its imagery is thickly cloaked in velvety night, often barely illuminated but for pinpricks of moonlight or a flickering candle, sometimes to the point where viewers must strain and squint to identify what they’re really looking at. That’s no accident, as Andrea Bussmann’s beguiling, perplexing sophomore feature is out to challenge the way we see and interpret images, and attach them to accompanying narratives. Packed with shards of local folklore and half-remembered mythology from the Oaxacan beach community on which it centers, this unidentified filmic object resists illustrating these tall tales, effectively testing our belief in its vivid oral ethnography, all while occupying its own liminal, unstable space between documentary and fiction.
Having already garnered festival acclaim in Locarno, Toronto and Berlin’s Critics’ Week sidebar,...
Having already garnered festival acclaim in Locarno, Toronto and Berlin’s Critics’ Week sidebar,...
- 6/15/2019
- by Guy Lodge
- Variety Film + TV
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