[Published in conjunction with NWFF’s Hot Splice]
“Why is manhood… an endless highway?” – Adam Zagajewski, Tierra del Fuego
The NWFF is to be commended for presenting a rare coup: a cycle of films that taken together evince a dedicated and visionary artist at work, the Argentine director Lisandro Alonso. The devoted following that Alonso’s work to date has commanded owes mostly to the fact that his films are both rarefied in their aesthetic and scarcely screened to audiences beyond the festival circuit. In a career that is nascent yet already overwhelmingly singular in style, here is a director who is clearly hitting his stride. We are fortunate to have the opportunity of seeing Alonso’s four features, and it is truly anÂ honor to have the director in attendance.
When Alonso’s debut La Libertad premiered in 2001, seeming to come out of nowhere save for its own rural milieu, it was a bit of an enigma to cinephiles. Was the story, much of it unfolding in real time in an unnamed outback in the Pampas, involving the quotidien labor of a woodcutter named Misael, a piece of documentary or fiction? Was Misael playing himself? Did such labor exist? And crucially, was this for real? And who the fuck did the director think he was, offering very little in the way of narrative save for the swinging of an ax, the buying of cigarettes, a ride in a pick-up truck with dog and timber, and the ritual slaying of an armadillo for dinner?