Koistinen baştan çıkarıcı bir kadının ve bir çetenin kurbanı olmuş bir güvenlik görevlisidir. Onu sadakatinin sonuçlarıyla yüzleşmesi için yalnız bırakırlar. Dünyamızda, gerçek sıcaklıkla ve küçük ama zenginleştirici bir umut ışığıyla parıldayan duygusal “yoksulların” dokunaklı bir hatırlatıcısı.
Bu film şu anda MUBI'de oynamıyor ama şu anda oynayan 30 diğer harika film var. Lütfen Şimdi Gösteriliyor sayfamızı ziyaret et.
After two decades of work, his minimalist style is at his best with this, economic in image and story yet also vivid and rich in detail. The deadpan nature of Kaurismäki’s work is here, but it’s matched by a heartfelt and extremely melancholic story which touched me. It’s difficult to explain why I loved this as much as I did, but it was cinema at its most rewarding and beautiful.
There are some weird transitions that defy logical beats, but all in all, there are so many brilliantly funny moments I can't help but praise this film to the fullest. "It's too crowded in here, let's talk in my car." She says in an empty restaurant. Characters speaking to each other without looking at one another. Kaurismaki is a genius, and "Lights in the Dusk" is up there just below "Man without a Past."
Watching LITD for the first time a decade after its release, I realized a) that Kaurismaki must be the main inspiration for the directors of the Greek New Wave (e.g. Yorgos Lanthimos and Athina Rachel Tsangari) and b) the laughter of the protagonist in the prison's yard completely destroyed the fictional coherence of the film.
The music and minimalist aesthetic are exceptional, but the deadpan acting was hit-or-miss. At times the "non-acting" added depth to the characters, and at times I felt bored with the repetition of drollery. The femme fatale Mirja, played by Maria Järvenhelmi, reminded me of Kim Novak's character in Vertigo.