35mm, rewatched. How many layers fit in this movie? How many simultaneities of representation? The world as form and representation, form of representation and vice versa? In the extraordinary final frame, its duration is both its visibility and its perceptual difficulty-how many levels to look at in this image? What filmmaker gives us so much imagery (and sound) breeding now, and so naturally?
A curious work that suggests, in a myriad of little ways, that life cannot conform to art--from the recalcitrant actors who for various reasons cannot say their lines, to the oddly substanceless and asymmetrical off-camera relationship between the on-camera couple, to that last shot that resolutely keeps the viewer (and director) at bay. We are reminded of the limits of representation, and the opacity of others.
Realism at its finest. Through the Olive Trees is a gratifying consummation of the trilogy, which is a multilayered dissection of reality and its relationship to aesthetics. For those who tout 'Inception', the Koker trilogy did it before and did it so much better. You will feel as if you've lived in Koker and have known these characters all your life. An unprecedented masterpiece.