You can watch Redoubt two ways. One one level, it’s a beautifully shot Cold War how to guide: Denis Levant pottering about the Swedish countryside, scavenging scrap and calmly building himself a bomb-proof house. On another, it’s a slow, word-light character study that trusts his body more than his dialogue.
Lavant’s physicality is the whole show – the way he hefts metal, shifts rails, or pads around his half-built bunker tells you more than any backstory could. The black-and-white images are gorgeously lit, turning scrap into sculpture. When he does briefly collide with other people, the scenes are blocked and choreographed with an almost balletic awkwardness.
Coming so soon after The Brutalist, which luxuriates in space as spectacle, Redoubt quietly argues that beauty lies in use. It’s sparse, maybe a bit too wispy as drama, but I was happy to sit in this odd little shelter and watch him build his world.