If anything, Hoberman’s comment underestimated the seismic impact that “Schindler’s List” would have to the public imagination. Even for the children and grandchildren of survivors — raised into awareness but starved for understanding — Spielberg’s popcorn version with the Shoah arrived with the power to do for concentration camps what “Jurassic Park” experienced done for dinosaurs previously the same year: It exhumed an unfathomable duration of history into a blockbuster spectacle so watchable and well-engineered that it could shrink the legacy of the entire epoch into a single vision, in this case potentially diminishing generations of deeply personal stories along with it.
To anyone familiar with Shinji Ikami’s tortured psyche, however — his daddy issues and severe doubts of self-worth, as well as the depressive anguish that compelled Shinji’s true creator to revisit the kid’s ultimate choice — Anno’s “The End of Evangelion” is nothing less than a mind-scrambling, fourth-wall-demolishing, soul-on-the-screen meditation about the upside of suffering. It’s a self-portrait of an artist who’s convincing himself to stay alive, no matter how disgusted he might be with what that entails.
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Beneath the glassy surfaces of nearly every Todd Haynes’ movie lives a woman pressing against them, about to break out. Julianne Moore has played two of those: a suburban housewife chained to the social order of racially segregated nineteen fifties Connecticut in “Much from Heaven,” and as another psychically shackled housewife, this time in 1980s Southern California, in “Safe.”
Back in 1992, however, Herzog had less cozy associations. His sparsely narrated fifty-moment documentary “Lessons Of Darkness” was defined by a steely detachment to its subject matter, far removed from the warm indifference that would characterize his later non-fiction work. The film cast its lens over the destroyed oil fields of post-Gulf War Kuwait, a stretch of desert hellish enough even before Herzog brought his grim cynicism on the catastrophe. Even when his subjects — several of whom have been literally struck dumb by trauma — evoke God, Herzog cuts to such huge nightmare landscapes that it makes their prayers seem to be like they are being answered by the Devil instead.
While in the many years given that, his films have never shied away from hard subject matters, as they deal with everything from childhood abandonment in “Abouna” and genital mutilation in “Lingui, The Sacred Bonds,” for the cruel bureaucracy facing asylum seekers in “A Time In France.” While the dejected character he portrays in “Bye Bye Africa” ultimately leaves his camera behind, it is to cinema’s great fortune that the real Haroun didn't do the same. —LL
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