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Closeup of The Arnolfini Portrait (Jan van Eyck, 1434) // Silent Light (Carlos Reygadas, 2007)

Considering Reygadas’s film is centered on a Flemish Mennonite community, the allusion is quite purposeful and is used in an ironical matter. Whereas the famous Flemish painting is a pictoral recording of a marriage being established, the Reygadas film is a moving pictoral recording of a marriage disintegrating. Yet both have the commonality of the respective images symbolizing the omniscient presence of God in the religious community as he is able to “see all”.

Posted: Friday May 3rd with 65 notes
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