Fata Morgana (2013)

Last in an unofficial trilogy of ambitiously challenging character-studies from Schreiner, who edits and shoots (on crystalline black-and-white digital video) as well as producing and directing, it's even more difficult than 2006's BELLAVISTA and 2009's TOTO, which proved too austere for most festivals. But Schreiner is nevertheless now established as a significant, admirably uncompromising and necessary artist who happens to have chosen cinema as his mode of quiet expression. His intimate but epic statement on the human condition, shot in Germany and Libya and featuring two philosophically-minded "protagonists," dwarfed the other world premieres at Rotterdam this year. Delicate handling will be required in terms of the film's presentation: vast and stately it may be, but there's something perilously fragile and sensitive about a project that feels like a raw glimpse into its maker's tormented soul. Running at 140 minutes, FATA MORGANA, named after a mirage common to desert regions, makes few concessions to conventional narrative formats or editing rhythms, staking out a territory beyond traditional distinctions of fiction and documentary.