Log

Notice (you can’t miss it) how, after the second set of murders, the horizon becomes so prominent, so active, visually and conceptually.

The more the film opens out into wide spaces, the more it also closes in (and not just in terms of the plot, the ill-fated lovers, the law on their heels).  

Several late compositions look almost like Rothko canvases — flat, luminous, the strip of the horizon either marked by the topography or traced by dust billowing up behind by the car. And the car, even when it barrels towards the camera, the effect, the impression is less a matter of distance being crossed than a matter of scale, the object simply getting bigger on the picture plane. Freedom and boundedness compete in the same shots.