Nocturno 29 begins where No compteu amb els dits left off: facing a blank screen and the materialness of the projection. It goes in depth into the future Eisenstein-like structure of Portabella’s films which do not advance through a lineal time, but rather by a succession of autonomous scenes.
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Digital, transcript from an original in 35mm, rewatched. Contemporary of Garrel's first phase formal experiences, being an elective affinity, in which cinema's own materials are the object of construction. Like some new Spanish wave of this period, especially Saura and some films of the sardonic veterans, namely Buñuel and Berlanga, bourgeoisie is the motto for the corrosion and metaphorization of a country.
Pure visual poetry, beautiful high contrast black and white cinematography and interesting use of sound. There are some awkward cuts and transitions between scenes when comes to the editing, but otherwise - this is such a lovely surreal experience. Probably not "for everyone" and rather demanding, but I'm sure if you can appreciate this kind of cinema, you will love Nocturno 29.
If there's an artist I'm indebted to Mubi for introducing me to, it's Portabella. Granted, this one's a bit of a warm-up, an exploration of elements; a virtuoso meeting his instrument, waking up fingers... But here are all the components he will use more deftly: The distillation of the human process of meaning-making; the impositions of its resulting symbolic order; the necessity - and difficulties - of subversion...
Gran película. A primera vista puede resultar confusa pero se explica teniendo en cuenta su contexto de producción. Claro que no es una crítica totalmente abierta al régimen de Franco pero entre líneas puede verse esa crítica que es bastante dura, por cierto.
Buñuelesque on many occasions, yet thoroughly original and captivating fragmentation of the bourgeoisie, its wedlock with dictatorial rule, the casino aspects of capitalism and the nocturnal light of a civilization through the lens of utilitarianism. All this with a ravishing Bosé, excellent editing elisions, supergrainy and overexposed b/w and explosions of color of a mechanical countdown to decline. Magnificent!
It was a relief to watch a film that lets you fill it in yourself, that doesn't tell you what to think, how to interpret. The cinematography is captivating- black & white, focussing on details, design, gorgeous, & when it moves into colour. The characters, yes they are congruent, the stories are connected in a timeline of sorts. Franco's Spain was the most horrifying element. A fabulous, obscure film.
Avant-garde well served by an exquisite black and white. No narrative line to follow, hardly any dialogue but a fantastic sound design and Lucia Bosé wandering around with seemingly no goal. A genre that affects me less today than it used to, maybe because i had my Maya Deren, my Marienbad and the experience in a sense can't be as impactful as it once was. Still i always admire the will to make films differently.