For those who know Tarkovsky’s Mirror, it’s an easy point of reference, just without, you know, all the overtly magical imagery. As in that, Jackson’s subjects seem to spring from the earth itself, their lives, troubles, and dreams expressed through their bodies and their environment.
Elegant camerawork by cinematographer Jomo Fray also marvelously captures this unique flow of time, especially during a showstopping wedding sequence in a church that recalls, of all things, the movement and pacing of Andrei Tarkovsky’s Mirror. Any film warranting a comparison of that degree is doing something correct.