In Dogme director Kristian Levring’s harrowing 2000 film The King Is Alive, a clutch of mismatched folk variously afflicted by modern-day angst are stranded in the great void of an African desert. For distraction, they decide to perform King Lear, Shakespeare’s wrenching tale of despair and madness. For these lost souls, it’s the narrative containment of the play’s spiritually corrosive content that looks like something they might hold on to.
The Salvation, Levring’s strangely numinous Danish take on the American western, displays a similar faith in the power of fiction, to show and contain chaos and horror, ceremonially, artfully. That power in some fashion saves us—like the ritual of consuming a god’s blood and body. The ambiguous salvation promised in the movie’s title may well refer to the good work art can do for us.