stronger, more concise than PARADIES: LOVE. Faith simulated as clash of materials and actions. Still struggling with the unleashed camera towards the end.
it stays within a much smaller fiel of diversity, almost glued to the main character and her husband, and it explores faith as a process, as series of material rituals, the materials being either objects or the human body. which i find more concise than in PARADISE: LOVE, where the main character gets a diversity of stages and bounds to others, in order to describe love. I see it as a process film, with a simple statement he consequently keeps exploring/demonstrating.
The via crucis of existence is a heavy cross to bear, especially if the blank theater of religious ethics turns out being a fever, a demented idea of the holy writ. The discomfort flashing from the movie is originally created in our subconscious and later transferred in Anna, allowing the typical distortion that prevents the subject from taking the responsibilities of his millenary intellectual heritage.
Como em DOG DAYS e no mais recente LOVE, FAITH é um retrato intimo e pornográfico, apoiado na pele e na carne de suas atrizes, sempre disponíveis e uteis em seus ambientes (im)perturbáveis e (im)pessoais. Virtuoso pelo voyeurismo, que se ama ou se odeia, Seidl ferve nosso olhar e persevera em sua busca pelo formal e social, sem deixar de acompanhar essa vileza com perversidade (ou polêmica).