White on White

White on White is a brooding, atmospheric historical drama set against the backdrop of the late 19th century, in the harsh and inhospitable landscapes of the Chilean Patagonia region. The 2019 movie, directed by Théo Court, features an impassioned performance by renowned Chilean actor Alfredo Castro, playing the role of a devoted photographer faced with a job that corrupts his moral compass. Co-starring with him are Lola Rubio and Lars Rudolph, who perfectly embody the intangible tension and raw emotion that underpin this cinematic masterpiece.

The story is centered on Pedro, a daguerreotype landscape artist, endearingly portrayed by Alfredo Castro. Pedro has been meticulously documenting the remote, untouched landscapes of South America when he is commissioned to make a portrait of the powerful, wealthy, and notoriously ruthless landowner, Mr. Porter (played by Lars Rudolph). A solemn man of few words, Mr. Porter rules over his property with an iron fist, displaying an apathetic disregard for the indigenous natives who populate his lands. His power extends even further as the owner of a seemingly never-ending land, given to him as a wedding gift for his young bride, Sara (played by Lola Rubio). Sara is an innocent and naive girl, stuck in a loveless marriage with Porter, marking a stark contrast to the austere environment surrounding her.

As Pedro gets closer to his subjects, he becomes increasingly involved in their personal affairs, engaging in an increasingly complex relationship with the innocent Sara. Their interaction is a line Pedro must tread lightly upon, given the oppressive and reckless power wielded by Porter. Exploring themes of colonialism, exploitation, and power dynamics, Pedro's journey culminates in an ethical struggle as he grapples between his dedication to his profession, the allure of a forbidden relationship, and the threat of a tyrannical overseer.

White on White is filmed with a cinematic finesse that captures the raw, untouched beauty of Patagonia, while its dialogue-driven plot serves to underscore the underlying tension that permeates every scene. Through Pedro’s lens, the stark contrast between the expansive landscapes and the destructive exploits of the rich landowner is made ever more evident. Furthermore, Pedro's obsession with capturing "the perfect light" acts as a reflection of his own moral struggle between what is right and wrong, giving depth to an already complex character.

The director, Théo Court, uses the sublime landscapes as the canvas on which he paints a vivid portrait of colonial tyranny, enriching the narrative with a slow-burning dramatic tension, which adds layers to the characters' personalities. What begins as Pedro's innocent documentation of the terrain, gradually becomes a symbolic representation of the human greed and destructive colonial force that invaded these pure lands.

The crisp cinematography combined with a hauntingly sparse soundtrack significantly adds to the immersive nature of the film. Each frame of White on White is carefully thought out to match its timely themes. The cold, punishing landscapes of Patagonia play as much a character in the film as the lead cast, providing a stark, visual representation of the themes of colonialism and exploitation that define the narrative.

Alfredo Castro's performance as Pedro is spellbinding. He perfectly captures the essence of a man torn between duty and morality, constantly navigating the treacherous waters of professional compromise and personal safety. Lola Rubio, as the young bride Sara, successfully manages to convey the innocence and vulnerability of her character, while Lars Rudolph plays the ominous character of Mr. Porter with an impassive, chilling cruelty.

In conclusion, White on White is a powerful, thought-provoking drama that explores the cost of professional compromise under the shadow of colonialism and exploitation. Packed with riveting performances, stunning cinematography, and a hauntingly minimalist soundtrack, it’s a haunting cinematic experience that leaves its audience pondering long after the credits roll.