Luz is a cryptic, supernatural chiller and the directorial debut from writer-director Tilman Singer. It hearkens back to the horror style of the 1980s, offering grainy 16mm film, a creepy mood and an unsettling, synth-heavy score. It is the kind of film that will be enjoyed by fans of David Lynch or Peter Strickland, but Singer creates his own brand of surreal eccentricity. It’s challenging to describe Luz’s narrative because it’s far from straightforward. The film begins with a long-fixed take – a Chilean-born taxi driver called Luz, staggers into a German police station.
A sleeper hit at festivals worldwide, Luz is an astounding debut feature from director Tilman Singer, all the more so considering it was shot entirely on 16mm as a film school graduation project.
A dazed, young cab driver drags herself into a rundown police station late one night. Across town, a psychiatrist is striking up a strange conversation with a lady in a bar, when he is paged by the police station to come in to counsel the cab driver. When he arrives, the cab driver begins an eerie and surreal confession that endangers all who cross her path.