If Ingmar Bergman had made a Peruvian message movie, it might look something like this slow-building, panoramic meditation about the effects of mercury contamination in the Andes mountains. (The comparison is admittedly both a blessing and a curse.) Saturnina (Solier) has just watched her fianc perish from toxic poisoning; Grace (Tabatabai) is a photographer whose doctor husband was killed in an ensuing riot. Both of these intertwining stories rely on a hypnotic, if heavy-handed, surrealism that jibes well with the film’s Big Picture interrogations into mortality and morality.—Lisa Rosman
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