The Sweet Hereafter


Sarah Polley and Ian Holm in <em>The Sweet Hereafter</em>

Like his countryman David Cronenberg, Egoyan is one of the few great directors working today whose films reflect not only a consistent worldview, but also a numinous mood. (Also like Cronenberg, Egoyan has set one of this year’s most memorable scenes inside of an automatic car wash.) Appealing no more strenuously to the intellect than to our innate sense for beauty, Egoyan’s films look chilly but eventually surrender warmth. They alienate, distress and confound us. What’s most miraculous is that they close up the wounds they’ve made.

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