https://doi.org/10.21697/zk.2021.8.25
The article describes the representations of landscapes in the films by Carlos Reygadas, whose role is to evoke the transcendental film style (as understood by Paul Schrader), and to express the experiences, thoughts and action of the screen protagonists. Landscapes perform various functions in Reygadas’s films. They are not only a background for film events or emphasize the mood and aura of contemplation of film images, but also a symbolic representation of emotions and experiences of the film’s heroes, and evoke the sphere of transcendence and sacrum, important for spiritual dilemmas and searches of protagonists. The article cites and discusses all of Reygadas’s fictional films made so far, which gives us the opportunity to compare them and demonstrate their mutual inspiration, and to continue the proprietary workshop, stylistic and thematic solutions. The research method in the article is analytical description of selected landscapes that play an important role in Carlos Reygadas’ films and the interpretation of the symbols contained in them, in accordance with the phenomenological and hermeneutic perspective. Interpretative phenomenological analysis enables, as the research tool used in the article, both the description of images (landscapes) appearing in Reygadas’ films and the presentation of their symbolic meanings. The subject of interest in interpretative phenomenological analysis is the life situation of film heroes, entangled in a chaos of various events and forced to make various choices. In accordance with the attitude adopted by the director, which can be described as the syllaptic ‘I’ (a term used in the meaning given to him by Ryszard Nycz), they are also an exemplification of the worldview and the essence of the artistic creation by the author: Carlos Reygadas himself.
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