A devastating shot, that one in the Herzog film. Seems like a very interesting series you've started here.
Both deal with loss. The priest has lost a colleague and friend and now, possibly, has doubts of his own. And below, Stroszek has lost his house, literally watched it wheeled away. It's interesting that in both cases the director chose to frame the actor from behind, staring at the scene of the loss, almost as if it's too much to see their faces.
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