Werner Schroeter’s rhapsody of excess leaps from 1949 Cuba to contemporary France to points in between, while its feverishly shifting visual style evokes and parodies everything from kitschy Mexican telenovelas to silent French art films
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1 prologue, four archetypes of stories and an epilogue. The fate of the letters game and the songs that makes it, in a strict figurative, anarchic, structure. The images invoke what the sounds evoke, the sounds are the invocations of an imaginary, without any overrun by an overworked logic of a normal fiction. A film that plays as if it would be played by the forces of destiny. Oversized, overrepresented, over us.