It’s a joy to watch, because Duvivier is a master of shadows, of movement, of blocking. His film has the deep blacks and dark impulses of film noir but also the expansive, sociological sweep of a Western, with its portrait of a community on edge. His camera moves with purpose and power, exploring the full geography of a space — a geography that, we suspect, will later become crucial. He goes to town on the material’s visual potential, and a visiting carnival adds an extra sense of delirium.
January 18, 2017