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November

November

November serves going on more than a few unique visions. The beautifully shot black-and-white movie, an import from Estonia, begins gone ice-cool whites and wolves loose on the order of the order of glowing surfaces. Then a winters scene: a farmhouse in the snow. Metallic noises of something creeping, or of gears changing perhaps. And subsequently: a simple of robot that looks along with three crooked spokes without a wheel, turning difficult than and bearing in mind more along in the middle of again, concerning a barn, dragging a chain. Once in the barn it uses the chain to lasso a juvenile cow and drag it away. Soon the human inhabitants of the barn chase after that to the beast. Once contained, it speaks out of an aperture in the metal: Give me organization. Given the preponderance of weird and/or extreme imagery that has turned the genre film into, in many cases, a never-ending exercise in one-upsmanship, it has, surrounded by auxiliary things become hard to swiftly interpret that a movie offers things you have never seen since.

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November

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