In all the stories that Llinas presents to us here with his narrative flair, well-known from Extraordinary Stories, we see the same four actresses, but each time in different roles: Elisa Carricajo, Valeria Correa, Pilar Gamboa, Laura Paredes – we also see them grow and get older.
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It’s fitting that the film starts with a mummy movie: in its heartfelt, head-on approach to genre, La Flor can be seen as an attempt to reanimate a succession of dead or dying forms. Many films in one, it thrives on multiplicity and abundance.
The results are often loose ends, tied hastily, even haphazardly, as well as broad emotional brushstrokes, with ample use of cultural shorthand. Yet these films can make for addictive, visually riveting viewing.
January 02, 2019
La Flor, with its unprecedented length and madcap ambitions, its grand and giddy love of cinema, its reveling in erudite citation and homage, as much as its pulpy, get-dirty delve into B and B-genre disguises, constantly flirts with the real.