Tags : Cinelogue

Davies frequently subverts this, introducing sound but not cutting to the scene connected to it. Images and events frequently compress illogically, allowing Davies to explain them or connect them later on. This seems to mimic the associative nesting of memory, as scenes don’t unfold linearly in time but in the order in which one is associated with another, making the connections all the more suggestive. Davies also saves one of his finest moments for the transition between the film’s two main sections…

This is a film that moves time and memory like a knife through water, carving out a lifetime full of impressions… Death & Transfiguration has a paradoxical quality to it, full of polar opposites; it has an inner peace while still struggling against life, it’s rooted in the pain of the flesh but there’s also a spiritual grace to it, it’s full of despair, but it revels in the concept that hope can only be found in such despair. Here, the Trilogy ’s motifs seem to echo more subtly, but more loudly. The pervasive choirs of children, usually singing Christian songs, take on a haunting quality that lingers.