Located off the coast of Indonesia, the Australian territory of Christmas Island is inhabited by migratory crabs travelling in their millions from the jungle towards the ocean, in a movement that has been provoked by the full moon for hundreds of thousands of years. Poh Lin Lee is a "trauma therapist" who lives with her family in this seemingly idyllic paradise. Every day, she talks with the asylum seekers held indefinitely in a high-security detention centre hidden in the island's core, attempting to support them in a situation that is as unbearable as its outcome is uncertain. As Poh Lin and her family explore the island's beautiful yet threatening landscape, the local islanders carry out their "hungry ghost" rituals for the spirits of those who died on the island without a burial. They make offerings to appease the lost souls who are said to be wandering the jungles at night looking for home. In the intimacy of her therapy sessions, as Poh Lin listens to the growing sense of.
Director of Photography Robby Müller is one of the few people in the world who knows how to play the sun. How to catch its rays like butterflies. How to strike its beams like chords. When Robby moves his camera, the camera turns into a musical instrument. And the whole world dances, radiates, is illuminated. For her extraordinary film essay Director and DoP Claire Pijman had access to Müller's personal archive: thousands of Hi8 video diaries, personal pictures and Polaroids that Müller photographed throughout his career; often with long term collaborators such as Wim Wenders, Jim Jarmusch and Lars von Trier. The film intertwines these images with excerpts of his oeuvre, thus creating a fluid and cinematic continuum. In his score for Living the Light Jim Jarmusch gives this wide raging scale of life and art an additional musical voice. With his ground-breaking camerawork, inventive lighting methods, his exceptional sense for the depth of colour, and the freedom of framing, plus his.