Indeed, you might need a deed to own land, but it’s all those horrible deeds that lead to systematic oppression that tie the tortured souls of Mudbound to the land. Even in the afterlife they can’t escape the land, which swallows their flesh and churns up their bones, the indentured survivors plopping their dead loved ones’ bodies right into the ground, rendering all their deeds and deeds undone.
While still stewing over the fact his vile racist Pappy (Jonathan Banks) sold the only land the family ever had, Henry (Jason Clark) is so damned obsessed with the idea of owning land and working it that he uproots his wife Laura (Carey Mulligan, ever graceful in her depiction of a woman’s arc from blissful naivety to pessimistic pining) and young daughters to go live on a godforsaken plot of harsh farmland in Mississippi. There the work and hardships are shared with an African-American family led by the spirited Hap Jackson (Rob Morgan) and his stoic wife Florence (Mary J. Blige) who have been toiling the land in quiet dignity for generations, first as slaves, and now as sharecroppers.
Strangely enough, following one post on how light — particularly the beautiful light in September — can affect photography and another on The Greatest Living Film Composers, I finally watched Silent Light — a film drenched in breathtaking images and natural lighting that has no music score. It’s one of those art films that was much discussed last year amongst cineastes but little seen by anyone outside of the international film festival circuit. As fall is often the season of slowing down and taking stock of your life, it could only be considered perfect timing that Netflix delivered it to my door just as we approached the autumnal equinox.
A Resurrection of Cinema
Carlos Reygadas’ Silent Light (Stellet Licht) is a direct descendent of silent film. Continue reading →