‘White on White’ Review: The Camera Lens Is an Instrument of Violence in a Haunting Colonialist Reflection

Traveling photographer Pedro is a drawn, taciturn type, who prefers to let his camera do the talking.

Whether he’s shooting a coy bride or a gang of white huntsmen posing with their Indigenous human kill, his mien is impassive, his brow furrowed, seeking composed perfection in the most rattling of images.

White on White” likewise conjures ravishing beauty from hellish historical ugliness, though it’s mindful throughout of the camera’s conspiratorial capacity for violence.

As cold and quiet and witchily mesmerizing as a nighttime snowfall, Spanish-Chilean director Théo Court’s formidable second feature considers a devastating chapter of South America’s colonialist history through the eyes of someone at once a perpetrator and an observer — tacitly asking, at a certain point, what the difference even is.An arresting and subtly challenging Chilean submission for the international feature Oscar, “White on White” first popped on the festival circuit in

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