Our Time
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Our Time

Our Time stars Carlos Reygadas and his wife Natalia López as Juan and Ester, a married couple whose definitely fictional open relationship in no way bears any resemblance to the performers. Even the TIFF write-up barely pretends to believe in this author-vs-character divide: The Nightingale “It’s fascinating when you realize that the director is effectively filming himself secretly watching his real wife’s affair.” Setting this aside (at least until someone asks Reygadas about it in an interview), the premise isn’t a huge change of pace: for all its Dreyer trappings, Silent Light is an adulterous love triangle, and Reygadas’s manic peak Post Tenebras Lux made one of its self-contained set pieces a visit to a swingers’ retreat. The man’s work is nothing if not sexually, let’s say, adventurous.

López edited Post Tenebras Lux (whose husband was also named Juan; the wife was Natalia), which Reygadas shot near his home in Morelos. Our Time appears to have been filmed there Next Gen as well, because the watering holes, landscapes and livestock look familiar. The film builds on its predecessors in many ways; Lux opened with a startlingly gorgeous sequence tracking Reygadas’ then-very-young daughter Rut as she wanders a cow-grazing pasture, delightedly calling out “vacas” as the sky darkens and a thunderstorm eventually descends. Much of the Academy-ratio Lux had the frame’s edges smeared, and Time’s opening sequence amplifies both the family-bathes-outside sequence of Silent Light (in terms of upping both the number of people bathing and the length of the segment) and aforementioned smearing; sometimes Our Time‘s widescreen framings look like regular fisheye distortions at the edges, other times something like half the frame is gauzed over. Rut and other Reygadas children are again in the cast; this Saaho is a family affair.

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Genre: Drama


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Duration: 173 min


IMDb: 7.0

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Our Time
Our Time
Our Time