‘Music’ Review: Angela Schanelec’s Radically Mystifying But Rewarding Riff on ‘Oedipus Rex’

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‘Music’ Review: Angela Schanelec’s Radically Mystifying But Rewarding Riff on ‘Oedipus Rex’
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Angela Schanelec is back.

Writing about music is like dancing about architecture, the maxim goes. And writing about “Music,” the latest beautiful and strange deep-niche arthouse artifact from uncompromising formalist, feels like a similarly doomed proposition. The limitations of language are seldom as apparent as when grappling with the silvery elisions and crisp, cryptic omissions of this glancing take on Sophocles’ “Oedipus Rex.

Suddenly we are elsewhere , where EMT Elias retrieves an abandoned baby from a roadside shack. He brings the baby home to his wife to raise together — an act subconsciously communicated in a tableau that showcases how DP Ivan Markovic’s beautiful, grave cinematography can be matched in evocative power by Rainer Gerlach and Dimitris Apostolou’s eerily precise sound design.

On the most superficial level, that is what happens, but plot hardly conveys the film’s effect, so we roll back down to the bottom of the hill of attempting to describe “Music” again. If there is one key to mapping Schanelec’s film onto its textual forbear, it’s to realize that here, time passes, babies grow into children, but the principals do not age. A man can appear to be roughly the same age as his adult son.

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