Film Review: LUZ: A Unique Vibe with a Surreal Tenor

Luz Review

Luz (2018) Film Review, a movie written and directed by Tilman Singer, and starring Luana Velis, Johannes Benecke, Jan Bluthardt, Lilli Lorenz, Julia Riedler, and Nadja Stübiger.

It takes some effort to believe that this bold horror feature, Luz, is the first one for German director Tilman Singer, which goes beyond the tribute to 1980s horror genre.

Even more astonishing is that this film is Singer’s thesis project while attending the Academy of Media Arts Cologne. It was screened at a number of international festivals, including Berlinale, Fantasia International Film Festival, Neuchâtel International Fantastic Film Festival, and BAFICI. All told Luz took 10 nominations and six wins.

In terms of structure, Singer exhibits a gift for loose narrative, his own stripe of dream logic reminiscent of David Lynch’s work. Singer takes on the especially tough task using multiple points of view throughout. In a film that runs a mere 70 minutes, this approach, risky as it is, ultimately succeeds. The plot development is gradual and piecemeal, yet logical and convergent. It does take some time, however, to latch onto these intertwining (and often contrary) viewpoints.

The first scene has a rather slow start, but it also launches the surreal atmosphere that permeates the rest of the film. The central character, taxi driver Luz (Luana Velis), evidently in shock and a little bashed up, shuffles into what looks like the deserted lobby of a hotel or perhaps and office building, not the gritty drama of a big city police station, which it actually turns out to be.

When questioned later, Luz relates the events following a woman she picks up at the airport — Nora, a close friend from their days at a Catholic school in South America. This meeting was more than coincidence, and less than nostalgic. As schoolgirls they had summoned a demonic spirit who incited them to perform a ritual on a fellow student who had gotten pregnant, with disastrous results for the academy. Luz fled the country to throw off pursuit of the demon, who considered her a kindred soul.

This is where the real fun begins, logistically speaking, especially those of us who enjoy puzzles. This spectral bad guy can jump from one person to another, apparently through kissing — as close to the standard horror trope this film gets. In terms of theme, there are innovative films out there which bear comparison. The acclaimed 1987 film The Hidden, for example, is an action-packed buddy-cop story, similar to the 1999 Outer Limits Season 5 recap episode, “Better Luck Next Time.”

But Luz has a special spin: the backstory discloses by way of preceding events unfolding before the eyes of the possessed. What’s more, we the audience are privy to these revelations — from the deliberate crash that brought Luz into the police, back through time to pregnant Margarita’s ritual ordeal with the creature from the outer darkness.

Also, the mere proximity of the creature evokes uncontrollable terror in anyone who observes the interactions, even at a distance. Johannes Benecke as Olarte, filming Luz’s interview from a soundproof booth, descends into abrupt, panicky terror. And the other cast members follow suit, navigating anywhere from catatonia to hyperbole. I often find this combination curious but enjoyable, if — and this is a big ‘if’ — supports the ambience of the work, or unintentionally hilarious if it does not (for examples, see Reefer Madness, et al.). That said, Luana Velis as the title character had been singled out for praise during the festival tours, but to my mind all of the performances are praiseworthy. I make special mention here of Jan Bluthardt as the doctor/hypnotist called in to investigate, and Julia Riedler as Luz’s school chum, Nora Vanderkurt.

Cinematographer Paul Faltz, along with the editing contributions of Singer and Fabian Podeszwa, gives Luz its near-perfect pacing in good sync with its fever-dream imagery; nothing lags or hurries, and the haunting score by Simon Wascow add remarkable chills that mount over time.

Despite the finesse which may, in part, earmark Singer’s future works, Luz skimps on a certain squeeze that sets apart the horror genre in general. In effect, this first feature is creepy rather than scary. But there is no question in my mind that Tilman Singer has a voice all its own, and how this comes through on his second feature, Cuckoo, now in production, is a promising one.

Luz is available through the streaming service Shudder.

Rating: 8.75/10

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