The Book of Vision (2020)
Genre: Drama
Duration: 95 minuten
Country:
Italy / United Kingdom / Belgium / Germany
Directed by: Carlo Hintermann
Stars: Charles Dance, Lotte Verbeek and Sverrir Gudnason
IMDb score:
7,2 (18.102)
Releasedate: 8 July 2021
This movie is not available on US streaming services.
The Book of Vision plot
Medical student Eva gives up her studies to study the history of the profession and the book entitled 'Book of Vision'. It was written by the doctor Anmuth in the eighteenth century and covers his relationship with his patients. During the investigation, her mentor Stellan is also involved in the case. Meanwhile, Eva herself is faced with the biggest decision of her life.
Reviews & comments
blurp194
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The Book of Vision.
Carlo Hinterman's second "real" directorial outing—the first being twenty years earlier, a documentary about Terrence Malick. And Terrence Malick is the producer of this film. As Cath Clarke notes in her review in The Guardian, you'd think Hinterman would be Malick's biggest fan—and indeed, spot the poster for Badlands.
Yet, this film is certainly not a soulless or characterless ape—in fact, Malick's signature style is completely absent. However, the film is much more about the images and the emotions they evoke than about a traditionally told narrative—either that, or I'm too clueless to understand much of it. Perhaps that's not a bad thing, though, because the images are sometimes overwhelmingly beautiful and sometimes otherworldly and alienating, creating a rather incomparable atmosphere. Or perhaps you could simply say that Hinterman has overreached himself with a clearly failed attempt.
The cast is certainly excellent – especially Lotte Verbeek, whose somewhat ethereal presence fits perfectly into the images – what did I say, overwhelming and otherworldly beautiful. With fitting contrast from Charles Dance, whom I've sometimes called the most handsome man in the British acting guild. It's a shame his talent isn't quite there; it's all good, no doubt about it – but not overwhelmingly good, and we know he has that potential.
The same goes for all the other aspects. Some of the details are perfect, but a convincing and consistent whole doesn't really emerge. But it's still a joy to watch, and to ponder that, just like the subject Hinterman may be trying to address, a true understanding of the whole may not be given to us.
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