Jay Weissberg Ever since Thoreau published “Walden” in 1854, the eponymous pond has taken on a life far more metaphysical than geographic, appropriated by writers wanting to give a name to their own special place where life at some point in the past had the potential for time-stopping splendid isolation.
In Czech director Bojena Horackova’s “Walden,” a lake in Lithuania named by the characters after Thoreau’s book is but one of many recognizable elements suffusing this low-key memory film, composed like a palimpsest where all influences are detectable.Episodically constructed with conscious tips of the hat to Jonas Mekas, Eric Rohmer, Ingmar Bergman and Sharunas Bartas, the film has a quiet pull, yet the lack of chemistry between.
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