in Chihuahua, Mexico, tells the story of a married man who falls in love with another woman, thus threatening the stability of his family and their place within the conservative community they live in. The dialogue is written in Plautdietsch language, the Low German dialect of the Mennonites, and hence questions a stereotypical conception of what defines Mexico and Mexicans alike. Furthermore, Silent Light shows several similarities to Ordet (1955) by Danish director Carl Theodor Dreyer. Although Reygadas' film is not a remake of the European movie it is to a great degree influenced by it, thus accentuating the universality of his work. American director Martin Scorsese described Silent Light as "a surprising picture, and a very moving one as well,", while Manohla Dargis of The New York Times called it "an apparently simple story about forgiving" in which "the images are of extraordinary beauty" and "the characters seem to be illuminated from the inside." . Silent Lightwas very positively reviewed by most critics, and was selected as the Mexican entry for the Best Foreign Language Oscar at the 80th Academy Awards. It was also nominated for Best Foreign Film at the 24th Independent Spirit Awards and gained nine nominations, including all major categories, in the Ariel Awards, the Mexican national film awards. Furthermore, the film competed for the Palme d'Or at the 2007 Cannes Film Festival, and came away as winner of the Jury Prize. The magazine Sight & Sound rated it number 6 on their list of the top films of 2007, while Roger Ebert ranked the film one of the top ten independent films of 2009.[6] Post Tenebras Lux (2012) In early 2012, Reygadas released Post Tenebras Lux, a semi-autobiographical fiction film, he said has "feelings, memories, dreams, things I’ve hoped for, fears, facts of my current life." As film critic Francine Prose has written, the movie "shifts back and forth between present and past, reality and fantasy, childhood and adulthood [and] offers us a set of images and sequences to which it repeatedly returns; with each of these reprises the image or sequence takes on additional meaning, depth, and nuance." In an interview at the Berlin Festival, Reygadas said that "reason will intervene as little as possible, like an expressionist painting where you try to express what you're feeling through the painting rather than depict what something looks like." The film was shot in Mexico, Britain,