Ta dziwaczna, pół-komedia luźno oparta o powieść Samuela Becketta z 1938 roku Murphy, koncentruje się na aspekcie literackiego pierwowzoru, dotyczącym grupy postaci nieustannie poszukujących tytułowego bohatera, gotowego odciąc się od przeszłości i zakończyć udział w wyścigu szczurów.
A frenetic, existentialist action movie shot with lean agility and an eye for the absurd. A true fleet pleasure. The second film from the New Argentine cinema’s Alejo Moguillansky, also part of the El Pampero Cine company, and editor of Extraordinary Stories.
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.
A case of a film's likability being unrelated to its obvious immaturity. Super likeable, actually. The full-tilt pacing is perfect to showcase Moguillansky's editing chops, with 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!
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。
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.
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.