Review: ‘Empire of Light,’ writes rilaws, is Sam Mendes’s best film yet.
has traveled forward in time, to the troubled early 1980s in England, to tell a humble little tale of human connection. His new film,, is the director’s most delicate, a wistful short story about two people seized by circumstance who help one another find their way through life. It’s an achingly lovely film—the best Mendes has yet made.plays Hillary, a retiring singleton who works at a seaside movie palace in small-town coastal England.
I’m curious where this film came from. After a festival season of big-director memoir pieces, one does wonder if some personal narrative is being retold here. The film doesn’t gesture toward its creator in any easily discernible way, though, so I suppose we should take it on its stated terms. Whatever Mendes’s connection to the material, he’s made something humane and nourishing, a picture of rare thoughtfulness and decency.
What remains is a deep and refreshingly heart-on-its-sleeve compassion, a humbled and awed appreciation for the majesty of learning from another person. In the film, Hillary shows Stephen the theater’s abandoned third floor, once a grand ballroom full of noise and activity now gone silent and used only by pigeons. Seeing this ghostly room, one assumes that, later on in the film, it will be somehow revived. But Mendes lets it stay lost, an emblem of irretrievable time.
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