A fascinating film, gorgeous, and one that earns its moments of quasi-transcendence through careful build and steady modulation. A very tonal movie, w/ images that pop. And you couldn't be expected to name so fiercely American a film w/ so many Austrian elements (clearly 71 FRAGMENTS OF A CHRONOLOGY OF CHANCE is an influence, as is Ulrich Seidl). DARK NIGHT is especially commendable for knowing how to underplay.
Hélène Louvart MVP. visually the film is pretty much perfection. had high expectations after Memphis, which along with Pavilion prove that Tim Sutton also really knows how to fill the frame. the ending here I felt was strong as well. major problem I had unfortunately was with the music, which I felt really detracted.
A highly stylised, philosophical art-film about the 2012 Dark Knight shootings in an US theatre. Writer-Director Tim Sutton serves up a slice of doomed Americana in this spare, almost dialogue free, portrait of the Aurora community in a the lead up to the shooting. It's beautiful, haunting and deeply affecting.
Lyrical, haunting, ethereal, deeply moving, and borderline exploitative. Sutton's allegorical hyperlink film evokes Gus Van Sant's Elephant. I'm not sure why Sutton chose to acknowledge the real Dark Knight shooting in the film, as it ruins the allegorical narrative. Still this is a beautiful film with striking moments. This is a film that has something to say, it's just been said and done better before.