much have be make of the gratuitous opening sequence in reygadas late picture . allow me to dispel any fear and this be the most beautiful and resonant pre title sequence in the past decade . we see the nude carlos head and chest and sense it the prurient cliché of the study of a man naked soul . reygadas lull u into this feeling and then slowly pan down to dissolve our preconception . the beautiful music beat give a real sense of emotional turmoil and we pan down to see the almost child like ( in term of size beside marcos ) ana administer fellatio . what could have simply be dismiss a shock tactic be undermine by the unsexiness of the sequence and the music which reach crescendo a the bored marcos attain orgasm . the black screen title sequence come at the peak of the music and we be hooked entirely and excite by the emotional resonance produce by the two protagonist about whom we know nothing about . the film be litter with moment wherein the music reach such a pitch that we can not but feel for these ostensibly detach and remote character and and therein lie reygadas skill . the film work on a number of level and parallel be draw between the rife kidnap problem in mexico city and jesus experience spend in hell in the 3 day follow his crucifixion . in edinburgh reygadas and his actress anapola mushkadiz talk and it be interest to find how autobiographical his film be . the character retain their own name and the lead carlos actually be reygadas father chauffeur for many year ( and an untrained actor ) . anapola mushkadiz and who be a quiet little phenomenon and have never previously act and show little ambition to do so again and attribute her performance entirely to reygadas . clearly one of the best current director with influence of antonioni and tarkovsky and he curiously reflect that his next film would be happy and curious his sure touch for the darker reach in everyday life . rarely do so subtle and out right thought provoke a film get make .