The old belief about photography and the native Indian — no photos, please, we don’t want our souls stolen — is vaguely explored in Japanese filmmaker Kiyoshi Kurosawa’s latest movie about the essence of an image, death and the otherworldly. Souls aren’t so much stolen in “Daguerreotype” as much as they are at unrest and obsessed over. Using the near-obsolete photographic techniques as its core optical viewpoint, Kurosawa (no relation to Akira) looks through the daguerreotype lens to examine ideas of power and the illusions of control — intermixed in a story about ghosts, guilt and karma.

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