In the movie, Tinka plays Nina--not for the last time.
The fact that Dreyer was — and that I am — male may complicate this issue.
The opening shot—of the desert at early dawn, with pink and lavender clouds hanging over mountain peaks and with barely discernible human figures moving across the lower portion of the screen—is incredibly beautiful.
The same goes for the offscreen fragments of Macbeth, which seem to serve as a form of artificial respiration for the central narrative and its thematic and semantic gaps — or at least to inject poetry into a fractured, achronological narrative whose integrity depends in great measure on strategic absences.
She has referred to her filmmaking as a kind of sorcery and the hallucinatory feeling of her films gives the impression that they truly have been conjured rather then written in any traditional sense.
It might be said that violence pervades and inflects everything we see and hear in the film, but violence in the usual Hollywood sense is neither seen nor heard.