The Light moves between social drama, magical realism and visual experiment. Tom Tykwer has plenty to say, but the ideas do not always form a clear, emotionally convincing story.
The wealthy Engels family lives in a Berlin apartment while its members drift apart. Lars Eidinger's Tim is lost in his advertising career, Nicolette Krebitz's Milena moves between development work and home, and their teenage twins retreat into digital life. Syrian housekeeper Farrah, played by Tala Al-Deen, introduces a mysterious lamp and a different kind of disruption.
Migration, environmental awareness, isolation and family estrangement are all substantial subjects. Together, they can feel like a collection of ideas rather than a developed narrative. Musical passages and animation demonstrate invention but sometimes distract from the people.
Eidinger balances arrogance and uncertainty well. Krebitz's distance occasionally feels too smooth. Al-Deen provides mystery, although Farrah functions more as a symbol than a fully realized person. The twins too often remain familiar images of youth, social media and rebellion.
The visuals are impressive. Blue-toned Berlin and long camera movements create an almost dreamlike atmosphere. Yet the stylistic emphasis also illustrates the problem: the film can lose its focus on character.
There are affecting scenes when the family confronts uncomfortable truths. Overall, though, The Light is brave and ambitious without becoming wholly convincing. It raises important questions and too often leaves them floating among its competing effects.