Alternately lulling and urgent, otherworldly and deeply intimate, visionary filmmaker Godfrey Reggio’s Visitors is a film like no other. With its 74 shots  — most feature films have hundreds if not thousands — and exquisite black-and-white imagery, it is, as Reggio says, “the odd one in” in today’s multiplex environment. And even with its Philip Glass score — mournful, haunting and one of the composer’s best — it still feels radically different than Reggio and Glass’s previous collaborations, the poetic films comprising the “Qatsi Trilogy.” No less visually seductive than those works, the non-narrative Visitors uses its images — which […]