Light Language in Casablanca
What makes the lighting in Casablanca even more impressive is how it reflects the emotional states of the characters without needing explicit dialogue.

A dive into the origins of two revolutions: the rapid expansion of Hydro-Québec with the construction of the La Grande hydroelectric power plant, a project championed by Premier Robert Bourassa, and the awakening of Indigenous nations. A clash of civilizations where two worldviews collide. Quebec, buoyed by the momentum of the Quiet Revolution, takes control of its destiny. Meanwhile, in the North, young Inuit and Cree rise up for the first time to protect what is most precious to them: their land and their culture. At the heart of the conflict is the James Bay construction site, the largest of its kind in North America.
What makes the lighting in Casablanca even more impressive is how it reflects the emotional states of the characters without needing explicit dialogue.
Izzy and Prince Thomas learn that taking control of their own destiny requires following their hearts and making their own decisions.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.
“I’m always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men’s fears and fantasies about women, and women’s feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside.” - Anna Biller, on why she made The Love Witch
Unfortunately, People We Meet on Vacation didn’t hold up quite as well as I’d hoped.