Revel's recent film explores the audio-visual intersection between deceptively luminous physical space and traumatically dark psychological space and time. The two protagonists are father and young daughter on a journey in this intersection between physical and psychological, also the intersection among uncertain past, filmic present, and possible future. Colors of Darkness translates the tradition of chiaroscuro into the little girl's horrific trauma at the apparent death of her father. Revel here employs two transition objects: the father's watch, which apparently survives the trauma, and the daughter's teddy bear, which does not. Revel's camera alternates between establishing shots of father and daughter in a car moving into the tunnel where he may die and alternating eye-line matches in which their eyes and their voices never quite meet. This postmodern Kuleshov-effect, syncopated by musical score, leaves the interpretation of all relationships unsettingly open. Does the father die, does he return alive, or is it all a hallucination and, if so, whose hallucination? Colors of Darkness asks us less to answer than to feel the question.