Parece que no está todo hecho en el cine. Llinás ofrece una nueva forma de contarnos las historias, en donde los personajes podemos ser nosotros o nadie en particular. Historias contadas con una voz en off, nuevas situaciones que se desprenden y un final que puede ser de todas las historias el mismo. Queda la sensación de que podría durar menos. Y amaga demasiado para terminar así.
If postmodern narrativity could redeem itself this would be the way: three unconnected (yet not incommensurable) stories on homecoming and self-discovery amid the contingency of globally organized crime, dispossession, bureaucratic inertia, colonialism. Extraordinary circumstances make ordinary people extraordinary agents. Gloriously shot against vast expanses of land it fuses myth and reality in untold originality.
Four and a half hours in the cinema watching this ludic, bathetic, hypnotic film which deals with our desperate need to make sense of events when really we are just trying to make some sense of ourselves. Perhaps not surprisingly this was part of a season dealing with the impact of Borges on visual art forms and it was suitably labyrinthine.
Llinás y otra historia que descubre a personajes curiosos. Como en "Balnearios", estos tienen una evocación fútil, pero que no deja indiferente al espectador. Ellos son personajes de paso, extranjeros, creando un hito en vidas ajenas. Lo cierto es que los protagonistas principales en este filme son más bien los que se quedan admirados de esos exóticos. Estos, por su lado, son rutinarios, comunes, muy hitchcockianos.
The narration starts off endearing enough but soon becomes pompous, needlessly meandering and just insufferable, like someone reading a bad imitation of Roberto Bolaño. The stories are occasionally promising and in the beginning there are distant echoes of Tarantino and the Cohens (particularly that of Z) but they ultimately dissolve in an anticlimactic, and frankly cringeworthy, mess.
Who knew a four-hour film recounted entirely in voiceover would be not only watchable but compulsive? Llinás builds on the promise of Balnéarios and constructs a fascinating puzzle that haunts and dazzles in equal amounts. One of those films that you want to consume you over and over again.
How pleasurable it was to enjoy the pleasures of narrative instead of watching cardboard figures marched around a plastic game board track. What a joy to simply watch people and faces move, respecting the secrets they house, no coercion from superficial miming pegged to story "beats". What a pleasure to watch the images just for themselves. What a pleasure just to feel pleasure. But, too many men, not enough women!
Actually, un-rated (yet). Watched about half, enjoyed what I saw except for the initially amateurish-looking half hour marred by the (ironically?) unrealistic arrival / departure of characters around the tractor. Perhaps stressing the primacy of the voice-over and oral story-telling over the use of illustrative pictures? It was off-putting rather than unsettling. Need to complete on youtube or wherever :-(
Although with a very intriguing and innovative narration style the movie loses its charm after the first 2,5 hours.I don't know how I feel about the omnipresent,and all-knowing narrator.The voiceover not agreeing with what we see it is indeed a step forward for an emancipated viewer,with active imagination.However the image in cinema is still prominent and the film feels overstuffed.Film should not mirror literature.
The two are normally presented as alternative options, but here is a film that both shows and tells at the same time. Sometimes in concert and sometimes clashing. Like Out 1 the whole exceeds the parts. There are some stunning moments in here, but its the audacity of filming a rambling four-hour long lost Pynchon novel that makes this special. Like Pynchon it fell just on the right side on nonsense. Good chapters.
"Extraordinary stories" is like an episodical novel accompanied with the moving images. It’s got lots of digressions that may or may not have something to do with the three main stories, and perhaps this is what I appreciate in this experiment. It tries to bring some features of literature into cinema. 4 hours of voiceover narrator is kind of extreme though, and the text doesn’t always reach the level of literature.
Camerawork, acting, sound design were all mostly mediocre and IT TOTALLY DIDN'T MATTER. That's the genius. The reliance on editing/music/post-production-in-general as the primary narrative device works in as iconoclastic & astonishing a way here as ever in film history. Then fashioning a cinematic infrastructure out of assorted literary conventions...? Badass, smart af, DIY directing. Look forward to more from him...