Liked it? In several scenes across Alonso’s oeuvre, the camera is positioned on top of a car, a pick up, filming the protagonist on his journey. [2] His 2014 film Jauja competed in the Un Certain Regard section at the 2014 Cannes Film Festival,[3] where it won the FIPRESCI Prize. I had forgotten about Alonso, and it felt wonderful to rediscover the director’s work through the eyes of someone else. He will never become one, he will never find peace. Lisandro Alonso (2 de junio de 1975, Buenos Aires) es un director y guionista de cine argentino. Lisandro Alonso (born 2 June 1975) is an Argentine film director and screenwriter. Alonso’s characters are often alone. Once more, Bouché looks at La Libertad in detail. In several scenes across Alonso’s oeuvre, the camera is positioned on top of a car, a pick up, filming the protagonist on his journey. He is able to raze the woods to the ground over time. I was reminded of those “lost” first films, which I watched many years ago, when I saw (thanks to the wonderful people of Sabzian) that there was a new book (quite possibly the first, at least in French) about Lisandro Alonso, published just this year by Warm. Indeed, the vast majority of slow films is governed by this interaction between the two rhythms. Towards the end of Lisandro Alonso ’s haunting fourth feature and first masterpiece “Jauja,” a disembodied voice asks, “What is it that makes a life function and move forward?” The question is a cunning bit of misdirection, because at that moment, the movie shifts focus and leaps around in time. Adrien-Gabriel Bouché – Lisandro Alonso (2020: 74) This quest for freedom is often expressed by what Bouché calls by a “vision dromoscopique”. Misael in La Libertad is living in harmony with nature, but he also tries to use it to make money and, perhaps, one day return home. Lisandro Alonso (born 2 June 1975) is an Argentine film director and screenwriter. “Dans chacun de ces films, le personnage tend à s’extraire, avec plus ou moins de succès, de ces cadres englobants et souvent collectifs, pour se lancer dans une quête solitaire dont la liberté (réelle ou ressentie) constitue un but plus qu’incertain.”. Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. It’s a prison, which Alonso’s characters try to break out of. Are they not hypnotic, dream-like journeys? It seems as though I never took the time to really write about those directors I came across at the beginning: Béla Tarr is a notable absence in my writing, even though I absolutely adore the man and his films. A painterly meditation on the apparent fragility and futility of human attachments, Argentine auteur Lisandro Alonso’s poetical triumph (born 2 June 1975) is an elegant blend of European period drama and faux Latin American Western, which unsurprisingly garnered the prestigious FIPRESCI award at the Cannes Film Festival in 2014. And then there is the rhythm inside the frame, inside the long-take, a circular rhythm, a continuous movement (Héraclite). But freedom is fragile and, in fact, unattainable. For those of you who speak or can read French, I strongly recommend this book. Perhaps, I got to know his films at the wrong time. He is a director and writer, known for, Review: Falling - San Sebastián 2020 – Donostia Award Screenings, Lucrecia Martel, Mari Alessandrini, Miguel Gomes Win at Locarno Film Festival, Locarno 2020: A Journey in the Festival’s History, Second Unit Director or Assistant Director, Hamaca Paraguaya - Eine Hängematte in Paraguay, Sinergias: Diálogo entre Albert Serra y Lisandro Alonso. He is a director and writer, known for La libertad (2001), Los Muertos (2004) and Jauja (2014). In Alonso’s films, as Bouché shows clearly, this interaction is particularly powerful, because the director’s films are always set in a natural environment; woods, jungles, plains. It is fascinating to see what’s in those films once you have a bit of distance to them. Lisandro Alonso was directing outside his native Argentina for the first time, with an ensemble of cast and crew from countries ranging from Finland to Spain, when Covid-19 hit the shooting of his western in Portugal. Literature from anglo-saxon regions still haven’t reached this non-academic stage, the stage in which you, as writer, allow yourself to feel the film and let yourself be guided by it.

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