I guess this film’s seen a lot of use of words like ‘oddity’; “two ghosts walk along the Camino of Santiago,” to try to regain their mortals lives. It’s made with an odd contrast between ART CINEMA tropes (long, static takes, precise compositions, observation of the beauty of the landscape), but tempered by a low-key and off-kilter sense of humour: the ghosts are literally actors under white sheets, and there’s lots of deadpan or ironical shots, with one ghost suddenly being, say, in a wheelchair.
There’s a sort of childishness in places, too, eg in scenes where their horse is replaced with a theatrical model, or the deliberately florid overacting of some of the figures the ghosts encounter on their odyssey. There’s a similar contrast between industrial spaces and the natural landscape, and even the music mixes avant-pop like Nico with operatic tracks. (There’s a particularly good use of Suicide’s synth-punk Ghost Rider over a shot of one billowing ghost charging through snow on his horse.)
What it’s about, god alone knows – it’s so ‘art short’, but oddly compelling through its stylishness, and its opacity actually keeps it interesting
