Save for the below three texts, written daily and without distance, my thoughts on Mariano Llinás’s La flor are now mostly lost and long gone. Premiered in three parts across three days at the tail-end of the 2018 Locarno Film Festival, this 14-hour film full of endless dead ends remains more memorable for the unique conditions of its viewing than for its many plots. In spite of instructive interludes scattered throughout—Llinás does announce each episode’s excluded beginning, middle, or end, an admonition that promises no unity other than the reliable reappearance and reinvention of its four star performers—any spectator would have every reason to doubt Llinas’s reliability as narrator, inclined instead to approach with caution and see for themselves. And so, with a unique opportunity to embrace uncertainty and be suspended in self-doubt, blindly writing on La flor became as pleasurable as watching La flor. Free...
- 8/26/2019
- MUBI
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