A new season begins, and right away we’re warned about where following the money might go. One place it goes is into the church, apparently. Why are people tripping over each other to give thousands to a church? I guess they want to make it into a monument to themselves, but it’s a mentality I don’t understand. I just like that shot. Somebody else blogged about the symbolism in it already.
I also like the way the conversation between Sobotka and the priest is shot, silhouettes in the stained glass window. There’s an interesting sort-of parallel in the images, except one’s looking up and the other’s looking down. Does that say something about their power relationship, or about their outlooks?
There’s another nice parallel between these two scenes. There’s supposed to be a shipment hidden in the car, but they can’t find it. There’s supposed to be some evidence in the storeroom. It’s missing as well. Both of those parallel the shipping yard, where one container is missing, and they try to lose another.
The architecture is different around the docks. Somehow it strikes me as being more run-down than the projects. Maybe that’s because it’s winter and no one is out. Maybe it’s because the projects are dying and the docks are dead. The epigraph suggests as much. That scene of the setting sun from off shore doesn’t exactly set a positive tone.