It wasn’t ’till the end that I realized that Meirelles’s film was written by TIFF fav Don McKellar (based, of course, on the celebrated book). Triggered simply by McKellar’s involvement as a cast member I was tweaking on the similarities between this narrative and his (fantastic) Last Night. Blindness is similarly apocalyptic (with, of course, a far more serious narrative), as the world goes blind one by one. Nursing her husband, Jullianne Moore’s character is the only sighted person sent to quarantine, where she must experience the horror through her own eyes, scenes of filth and disgust hidden from those blind around her.

Drenched in metaphor, the film creates a suitably somber and tense mood. Another Canadian film stalwart, Maury Chaykin, plays a man born blind, uniquely capable due to years of practice of surviving in the wretched circumstances.

Unflinching, the film nonetheless strives towards some form of catharsis, an ending that doesn’t quite ring true. Still, save for the overly optimistic conclusion, Blindness is certainly worth, well, seeing.