La Luz Incidente [Incident Light] is a poignant Argentinian drama film set in the 1960s that unfolds with an undeniable classic charm. Directed by Ariel Rotter, it stars actors Erica Rivas, Marcelo Subiotto, and Susana Pampin who weave the plot through their incredible performances.

The plot of La Luz Incidente revolves around a widow named Luisa, exquisitely played by Erica Rivas, who is struggling with the loss of her husband and is suddenly thrown into a whirlpool of emotions when a prospective second husband appears in her life. The character of Luisa shows multiple dimensions - she is a young widow, a mother with twin daughters, and a woman of her own rights, trying to reclaim her footing in a society dominated by patriarchal norms.

Marcelo Subiotto plays the role of Ernesto, a wealthy industrialist and cousin of Luisa's late husband who offers to fill the void in her life. He is portrayed as a quiet and unobtrusive individual who yearns for Luisa, waiting delicately for her to mend her broken heart. His character balances resilience and neediness, bringing an interesting dynamic to Luisa's life and the story. Meanwhile, the presence of Luisa's mother (Susana Pampin) adds layers to the story, subtly illustrating the societal pressure on widowed women during that time.

The narrative primarily projects a powerful portrayal of a woman trying to find her identity amidst societal expectations after the death of her husband. It raises poignant questions about the conflicts of freedom, dependability, and the societal idea of remarriage for a woman. Moreover, the movie echoes the tension between Luisa's resistance to leaping into a new relationship and her longing for stability and protection for her daughters, caught in an unexpected emotional crossfire.

Stunningly shot in black and white, the movie visually pays homage to an era bygone, yet its themes resonate with the contemporary audience. Ariel Rotter's directorial prowess ensures that the story unfolds unhurriedly, entrusting audiences to peel off each layer of complexity on their own. The cinematography of Guillermo Nieto is exquisite, emphasizing the characters' emotions and their surrounding environments wonderfully.

Undoubtedly, it is the evocative performances by the key actors that inject life into the film. Erica Rivas skillfully depicts Luisa's emotional journey, displaying her talent in emoting the complexities and varied emotions of a widow caught in the midst of societal and familial expectations. Marcelo Subiotto skillfully plays Ernesto, whose reserved charm and silent strength make a vast impact on the storyline. And Susana Pampin complements the cast with her effective portrayal of a mother concerned about future stability and societal norms.

Despite the heavy themes, the film is far from a mere sob-story. It is complemented well by a sense of surrealism, bringing a refreshing experimental touch to a sensitive plot. The storyline is armored with an element of psychological investigation, engaging watchers in the protagonists' emotional transitions, their personal growth, and their discovery of selfhood.

The film is more than just a simple narrative, though. Its multilayered approach encapsulates an era-specific influence on the female perspective on life after the loss of a spouse, the perceived roles they 'should' play, and the societal expectations they are often burdened with. Its choice of using monochrome imagery helps transport viewers back to the 60s, offering not only a visual experience but also a deep look into societal nuances.

In essence, La Luz Incidente [Incident Light] is an engrossing cinematic experience. It blends powerful performances, a thought-provoking narrative, and sublime cinematography together in an elegant pool of dramatic subtlety and emotional exploration. The movie with its multilayered perspective on post-widowhood societal expectations, presented through the journey of a woman rediscovering her own identity, continues to leave audiences moved, presenting a profoundly significant filmic experience. Ultimately, the film stands as a testament to the notion that true light, indeed, stems from within.