Vargas, a 54 year old man, gets out of jail in the prvince of Corrientes, Argentina. Once released, he wants to find his now adult daughter, who lives in a swampy and remote area. To get ... See full summary »
The Philippines, 1972. Mysterious things are happening in a remote barrio. Wails are heard from the forest, cows are hacked to death, a man is found bleeding to death at the crossroad and ... See full summary »
Ron, a young man in his late teens or early 20s, but emotionally younger, has no visible, employable assets, yet rails at his status in life -- blaming everyone for the fact that his dreams are not coming true.
"The time is now, a numbing and timeless present of hospital stays, bureaucratic questioning, and wandering through remembered spaces... and suddenly it is also then, the mid '70s and the ... See full summary »
A working-class man named Marcos and his wife kidnap a baby for ransom money, but it goes tragically wrong when the infant dies. In another world is Ana, the daughter of the general for ... See full summary »
A 24 hour period in the lives of Fausto and Jesus, two undocumented Mexican day-laborers in L.A. Each day another task, each day the same pressure to find money. They go about their daily ... See full summary »
Jesus Moises Rodriguez,
This is the first installment of Lisandro Alonso's trilogy: La Libertad, Los Muertos and Fantasma -- which literally translate to The Freedom, The Dead and Phantom. All three films are quite intriguing and very much worth watching. (Los Muertos is my personal favorite because it seems to flow most naturally, almost magically, like the river where it takes place; but I've come across an interview in which Alonso speaks of La Libertad as a more challenging and, in his view, more successful project.)
Throughout the trilogy, the Argentinean director/screenwriter manages to inspire in the audience a true sense of awe and mystery while working with very few, beautifully simple ideas; it is precisely the economic and lean nature of the "storytelling" (if one may call it this) that's most captivating.
In La Libertad, the camera appears to document a day in the life of a woodsman who survives in a state of near-complete isolation. (Curiously enough, the filmmaker has described the story as being not so much about a lumberjack, but about a person watching that lumberjack from a cinema - a concept which is later touched upon in Fantasma, the third part of the trilogy.)
If you're a viewer who enjoys slow movies and has a taste for subtlety and experimentation, don't miss this film.
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