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On a verdant hillside, the two sit and muse about the sky, the trees.
We are sometime in the past when, exactly, is (deliberately) hard to say.
This is the boundary stone of their world.
The children learn at a young age they are tethered to the land through pain.
It is violent, but necessary and also, admittedly, a little funny.
InHarvest, Walter dangles over the precipice of modernity, and most crucially, capitalism.
Her world has already descended into the horrors of individualism, where there is no community.
It might as well be her.
The walls close in on Walter and Nina.
We all have bad weeks.
These two films feel local in narrative and profoundly elemental in feel and sound.
