This cockeyed semi-comedy’s unlikely basis is Samuel Beckett’s 1938 novel Murphy, but it preserves only the book’s central conceit: a set of characters constantly in pursuit of the title character ready to check out of the rat race and sever all ties with his past.
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All the hard work shows and I wish it didn't. All the director's cleverness shows and I wish it didn't. Comes off like a very savvy film editor/director's calling card to those with deep pockets. Castro seems to have one foot in the absurd and one foot in post-modern storytelling, but I could never find its
core or essence--a reason to exist besides that same cleverness.
în filmul acesta, pe măsură ce existențialism derapează într-un oraș labirintic cu un val cuvintelor ca focuri de mitralieră și un truc ridicol-cinematic, solemitate Bressoniană devine ascuțit, accelerat și se transformă în nulitate încîntătoare la sfîrșit. Foarte suprarealist și plin de rîde. // 機銃掃射さながら打ち出される言葉の波や滑稽なまでに映画的なギミックと共に、実存主義が迷宮のような街を駆け抜けるうち、ブレッソン的な厳粛さは研ぎ澄まされ、加速し、最後には陽気な虚無へと変貌を遂げる。頗るシュールで笑いに溢れてた作品。
A solid premise for a short, stretched a little long for my taste. Strange given how much it resembles the street scenes of Out 1.
Eventually nonsense stops being funny and starts being trying. There is something more coherent in here about capitalism that Godard has ever gotten too, but its not worth the digging.
For the first 15-20 minutes, you may also be curious thanks to the rhythm "à la Godard", the stunned dialogues, and the idea that the film conceals something that will be revealed later. But the film does not hide anything: not a narrative, not an idea that justifies everything.
There is something about the idea of work in contemporary society, but it is so elemental that it could easily fill a 10 min. short movie.
Castro immediately reminded me of the much-lauded Argentine film Nine Queens, particularly in terms of the outcast heroes and its fast-paced swindling. It doesn't quite have the profound neo-liberal, capitalist comment that Nine Queens has. Castro's film style also resonates with Godard, certainly through its chapter-by-chapter organisation (Vivre sa vie-esque?).