In Ben Sharrock’s second feature “Limbo,” the compositions are frequently flat. Miraculously, though, the characters contained within them are anything but.
The neatly coiffed geometry of Nick Cooke’s photography immediately jumps out, recalling masters of the tableau like Elia Suleiman or Aki Kaurismäki.
As the camera stilly observes a seated crowd of refugees uninspired by a cultural immersion seminar, Sharrock’s offbeat perspective announces itself.
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