The Revenant & The Beauty of Violence
Everyone seems to agree that Alejandro Inarritu’s most recent film is beautiful. The expansive shots allow the Western mountains to rise and recede. Scenes unfold in the midst of open forests yet the whole depth of field is in precise focus. The sky is full, so that even when it is no more than the uniform grey of impending snow it rises to carry the viewer outside of the cinema to the actual sky overhead—to the inescapable cold of deep winter. What is less agreed upon is the