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?).
A case of a film's likability being unrelated to, or sadly mitigated by, its obvious immaturity. Still, super likeable. The full-tilt pacing is perfect to showcase Moguillansky's editing chops, w/ delightful results riffing on eg Bresson's Pickpocket, Truffaut, Rivette... Full of cinematic/literary references, in fact, all elevated to a postmodern mania. Beckett on meth. Less a great film than a lure but, I'll bite!
The film's narrative is obtuse and never fully explains itself. It has the characters more naturally present themselves as they react to scenarios and allow the audience that chance to catch up. The events within the film are odd, but remain believable through their oddities. No stakes were ever well addressed in the film, leaving no personal attachment to specific characters which does the film injustice. So close.
Written and directed competently enough by Alejo Moguillansky, Castro is a strange mix of offbeat humour and crime thriller that just didn't really work for me. Perhaps making some of the characters less one-note would have helped, or spending more time showing the small cons and hustles that are played out by the titular Castro. A difficult film to recommend, although it's not without merit.
Empieza bien y luego se desmorona completamente despues de la media hora hasta el final. Hay momentos iniciales de genialidad, pero y rápido se apaguen. Yo también he encontrado características típicas de la narración del absurdo de Beckett; momentos que me recuerdan a lo humor serio de Keaton y a la nueva ola francesa (sí, especialmente a Godard). Veré las otras dos películas presentadas aquí, por profundizar...
A largely incomprehensible slog. Its kinetic energy only carries the interest of the audience so far, before it turns into tedium. Moments of inspiration shine through: a bit of humour and some interesting feats of human choreography. But it's not worth it.
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.
A group of people keeps chasing a man named Castro, while a piano keeps playing the same tune over and over again. A comedy that makes use of its most absurd elements to turn more than once into a drama about loneliness and despair. Clearly influenced by the earliest Godard, Moguillansky's film reaches some really interesting peaks amongst all its strangeness.
(2.5 stars) A manic pace that seeks to highlight the absurdity of this "chase" sub-genre. It doesn't really work for the most part, but the attempt is noble and creates watchable moments from time to time. One sequence (the umbrella bit) is truly worth watching, but the rest is kind of skippable. Ending doesn't work, so that was a disappointing end to a disappointing film.
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.
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.
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。