Night Noon Screen 5 articles

Night Noon


Night Noon Poster
  • In seeing this altered space and imaginary geography from down on all fours, we are asked to regard it as a field of movement and negotiation, and to try not to master it with known concepts. Kaul is behind the camera, so we never abandon human vision altogether. But she does provide the dog (and us) with a different kind of interlocutor, one whose insensitive Otherness mocks us like a tape recorder.

  • [Kaul] seems deeply interested in the topographical nuances of remote locations and how cinema can bridge as well as exoticize such regions. Night Noon is more inherently “real” than its predecessor [Mount Song], which recreated set designs from imagined films, but is just as evocative and attuned to acquired knowledge and memory.

  • Night Noon cleverly inverts spatial relations and recognizes the congruity between the landscape’s ongoing erosion and the living actors’ geographic displacement; the landscape and its inhabitants are tethered together in a state of perpetual mutability.

  • In both Night Noon and Mount Song, places are known largely through their circulation in films, but the varying modes of production create tension and force us to consider how place and landscape are created and represented in cinema.

  • An environmental fugue that builds toward a mordantly inscrutable punchline, Kaul's view of the planet’s conflicts and harmonies brings to mind a canny reimagining of Kubrick’s Dawn of Man sequence, or perhaps one of Herzog’s nature cantos.