Between Heaven and Earth: A heavy, dusty look at village grudges

Is it worth your time?

If you like movies that feel like they were filmed in a damp basement and care deeply about how a village gossip mill works, you’ll probably find something to chew on here. If you need pacing faster than a tortoise on a treadmill, skip it. You will likely hate this if you get bored by men standing around in heavy coats looking suspicious of each other.

Cinematic perspective: Exploring the visual vocabulary of Between Heaven and Earth (1934) through its definitive frames.

The whole thing feels heavy. Like, physically heavy. The story centers on this village character who acts like a Jekyll and Hyde, shifting between being a total nightmare and someone trying to be decent. When he dies in a fall, the town doesn't mourn; they just analyze. It's a bit like watching people dissect a bug that used to bite them.

Cinematic perspective: Exploring the visual vocabulary of Between Heaven and Earth (1934) through its definitive frames.

Oddly specific observations

• The lighting in the exterior shots is so moody it almost feels like the sun decided to quit for the day.
• There’s this one sequence near the middle where a character stares at a fence for so long I started wondering if I had paused the movie by accident.
• The way they talk about the dead man? It’s brutal. No one is trying to be nice, which is honestly refreshing.

You can tell the movie really wants you to weigh the man’s soul, but I mostly just kept looking at the textures of the village walls. They’re crumbling in a way that feels very authentic and not just like a cheap set piece. It reminds me of the atmosphere in The Sign of Four: Sherlock Holmes' Greatest Case, where the environment does more talking than the actual actors.

Cinematic perspective: Exploring the visual vocabulary of Between Heaven and Earth (1934) through its definitive frames.

The acting is... well, it's very 19th-century intense. Lots of brow-furrowing. At times, the performances feel a bit stiff, like they’re trying to hold onto a secret that they’re not even sure is in the script. It’s not smooth, but it works for the gloomy vibe they’re chasing.

Cinematic perspective: Exploring the visual vocabulary of Between Heaven and Earth (1934) through its definitive frames.

I found myself thinking about how much of this was just people projecting their own issues onto a guy who isn't around to defend himself anymore. It’s petty. It’s human. It’s also maybe a little bit dull if you’re not in the right headspace. 🕰️

It doesn't have the snap of a tighter thriller like Eleven P.M., but it sticks with you. Just don't expect it to explain itself. It leaves the door open and leaves you to figure out if the guy was a saint or a sinner. Or just a guy who tripped.