Lat Den Ratte Komma In (Let The Right One In)

One of the most lauded films of the last few years. We remember enjoying it on first release, and this re-watch confirms it as more than a very good film; it is seminal, really, one of the high points of recent cinema.
How arthouse is it? The shots aren't particulalry long or shot or weird. We have the usual mixture if mid-identifying shots, and we have the wider shots of whole bodies among the widescreen friendly snow (that adds thematic weight to the idea of coldness, outside, isolation). The pretty shots are contemplative and beautiful in themselves. The snow that twinkles, some contemplative looks at the trees and what shines on them. Quite conventional beautiful shots (not a criticism, an observation), this is not a formally innovative film, but is a very very good one on its own simple way. Each scene is expertly composed, with a most understated kind of beauty.
This film is about isolation, outside, belonging. The repeated motifs of glass, of seeing through glass, of touching in glass. We know Eli, Oskar, Eli's keeper (a heatrbreaking subplot, perhaps the finest moments of the film in its understanding of time), and indeed nearly every character must learn, somehow to belong. How is this done? To become like others? How does one get in?
This film uses focus to emphasise much of this. Oskar is taken out of focus even in 'his own' scenes, coming back in more as Eli lets him know who he is, lets him in to his own life. This use, helped by the glass, rather reminded us of 'The Secret In Their Eyes'. In fact, this on the surface very different film is a good point of comparison. A formally excellent but not hugely showy film with fascinating themes. This is a little more low key, more, well, emotional (and without the slightly stretched plot).
A seminal film of recent times, excellent entertainment, with so much to think on. But nothing can be explained, except through the image.