8 – 16 NOVEMBER, 2018, CINEMATEK, BRUSSELS. An initiative of CINEMATEK, Cinea and Courtisane, in collaboration with the Embassy of Argentina in Brussels and Instituto Cervantes. Curated by Céline Brouwez & Stoffel Debuysere.
La Libertad: the title of Lisandro Alonso’s debut film can also be used as a fitting description for his approach to cinema, one that allows him to follow cinematic paths that aren’t paved with convention or certitude. Instead, The Argentinian filmmaker prefers to intuitively venture forward from the desolate hinterlands that he encounters on his travels to the outskirts of so-called “civilized” life: the endless barren pampas in La Libertad (2001), the swarming green jungle in Los muertos (2004), the frigid snow country of the Tierra del Fuego archipelago in Liverpool (2008), the immense, surreal desert landscapes of the Patagonia region in Jauja (2014), and even the shadowy bowels of the Teatro San Martin in Buenos Aires in Fantasma (2006). Every film’s meticulously filmed setting plays a fundamental role as the backdrop to the wanderings of a solitary, taciturn figure, whose inner life and social history remain shrouded in mystery. The reticent figures drift through frontier places where different worlds come together, where nature and civilization meet, different eras collide, memory and history, fantasy and reality coincide and become entangled, giving Alonso’s cinema a fable-like dimension that seems to shift in complexity and density.
From the circularity of La Libertad’s portrayal of the Sisyphean life of a lumberjack and the linearity of an ex-con’s downriver homeward voyage in Los muertos to the tangential shift in point of view from a sailor to a farmer in Liverpool: for every new film, Alonso finds a new freedom, driven by a searching energy that leads him time and time again towards uncharted territories. His latest film, Jauja – the result of his first collaboration with a writer and professional actors – follows the ever-widening orbit his films have been tracing even further into the register of myth. Starting with a text that refers to a place in Inca folklore, a “mythological land” which men “tried to find but got lost on the way to that earthly paradise,” the film gradually mutates into a hypnotic, trance-like odyssey during which all boundaries between the real and the unreal dissolve. With every new venture, Alonso seems to ever more radically engage with the essential pursuit of his cinematic quest: to leap into the unknown in order to rediscover freedom.
Program on www.courtisane.be