An abuse in terms of contemplativeness. Lisandro Alonso undoubtedly has an eye for composition but the images in "Liverpool" are so drunk with themselves that they merely suggests basic elements with no real resonance. Yes, you can think of a dozen things about it's main character and the pseudo existential journey he's facing and pretty much care less as soon as it's done. (1.5)
Farrel, un marino mercante, regresa después de una larga ausencia a ver a su hija. Los diálogos, a menudo ahogados por el ruido ambiental, marcan el contrapunto al silencio de la soledad. Las tomas largas, sobrias y meticulosas, permiten contemplar a detalle la austera belleza de las locaciones y paisajes.
I really liked the scenes on the ship, thought they were very aptly slow moving and established character so simply. The sense of place in Ushaia was beautiful too. Approved of the lack of dialogue - the characterisation and feel, particuarly the sense of place, were so strong without them.
Voyeurist neorealism where the tiniest details are completely captivating. Was that a gun in the bag? Was that blood in the snow? Every composition has a snapshot or postcard quality. From inside bedrooms, cabins and cantinas to the stillness of Tierra Del Fuego snowscape, Alonso uses still camera positions so we gaze serenely on and are at one with the phlegmatic hardy souls grasping hold of the tail of the Americas
Undeniably beautiful in its minimalistic approach, with shots carrying on nearly endlessly until every element of movement fades into stillness. I cannot fault the film for originality or ability to provoke thoughts on lonliness, existentialism and parenthood. However, the film comes off as an original idea that suffers from being too drawn out and diluted.