Generally speaking, all a viewer needs to do while watching a Lisandro Alonso film is look and listen. Starting with La Libertad (2001), the Argentine director’s features -- the rest of which are Los Muertos (2004), Fantasma (2006), Liverpool (2008), and now Jauja -- have foregone anything resembling conventional, narrative-based filmmaking. Alonso’s recurring subject -- the relationship between people and the landscapes that surround them -- is disarmingly primal, showing non-actors conduct their daily business (La Libertad’s subject is a woodcutter, for instance) in something resembling real-time. Alonso is not interested in backstory or psychology, at least not in the ways these are usually broached and exploited in mainstre...
- 10/8/2014
- Village Voice
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