‘Luz’ Review: A Captivating Dive into Technology and Isolation

The 2025 Sundance spotlight turns to Flora Lau’s “Luz,” a cinematic masterpiece that leaves viewers yearning for tangible reality. This film compels one to reach out for the grass, or seek solace in the comfort of human touch.

“Luz” is a visually enchanting experience that introduces us to characters trapped in the bubble of isolation, their attempts at human connection frail and fragmented. They are connected, albeit distantly, through the enigmatic symbol of a mystical deer, conceived by a renowned Chinese artist as his swan song. The deer becomes the central piece in a vast painting housed in a dingy club in Chongqing, where individuals seek refuge in solitude, within a virtual reality domain.

The most frequented virtual escape at the club is a VR world named Luz, embodying both “Light” and “Separation.” This world centers around the deer, which must evade hunters among whom is Fa (played by En Xi Deng), a young camgirl. Her serene online broadcasts are regularly disrupted by Wei (portrayed by Xiao Dong Guo), who claims to be her estranged father. Since Fa is reluctant to face him in reality, Wei maneuvers through the virtual world to connect with her.

Parallel to these events, the departed artist’s solitary daughter, Ren (Sandrine Pinna), resides in Hong Kong until she receives a call regarding her former stepmother, Sabine (Isabelle Huppert), her father’s equally creative ex-wife residing in France, who reportedly needs care. Reluctantly venturing to France, Ren is taken aback to find Sabine vibrant and opposing any form of assistance. In fact, Sabine is determined to revel in life’s vibrance for as long as she can, drawing Ren into the sensory pleasures of a Parisian lifestyle enriched with art, music, and indulgence.

Lau, with her commendable skill, along with cinematographer Benjamin Echazarreta, transforms the screen into an artistic tapestry, incorporating layers to parallel multiple artistic mediums. An electro-eerie soundtrack complements the shadowy, neon-spattered streets of Chongqing, reminiscent of futuristic realms like “Blade Runner.”

Yet, “Luz” embraces contrasts — the dynamic shifts from the bleak urbanity of Chongqing to the flourishing serenity of Paris. Sabine’s world bursts with life; her acquaintances thrive in sensory awareness: engaging dialogues replace digital messages, techno rhythms transition to the nostalgic strains of French pop, and monochromatics give way to vivid palettes.

The performances from Huppert and Pinna are nothing short of radiant. While Sabine glows with internal energy, Ren appears subdued, visibly lacking in spirit, despite it being Sabine who is faced with a life-threatening condition.

In crafting such dichotomies, Lau’s narrative occasionally ventures into stark thematic contrasts. Despite these moments, her distinct creative vision captivates, often pulling the narrative back into its compelling existential examination. As viewers are subtly encouraged to return to their own realities, the haunting yet mesmerizing visuals on the screen continue to captivate and hold the audience in a state of wonder.

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