2008 ‘Historias extraordinarias’ Directed by Mariano Llinás
X arrives in a small town and witnesses a violent act; Z takes the job of a dead manager and discovers that he had a notebook written in code and a map; H is hired to go down a river and investigate a series of mysterious monoliths built on the shore.
Walter Jakob Agustín Mendilaharzu Mariano Llinás Klaus Dietze Horacio Marassi Eduardo Iacono Lola Arias Mariana Chaud Julio Citarella Edmundo Lavalle Leandro Ibarra Héctor Bordoni Óscar Mauregui Fernando Llosa Esteban Lamothe Alberto Suárez Ana Livingston Lila Monti Germán de Silva Emma Rivera Gerardo Naumann William Prociuk Marcelo Mariño Elisa Carricajo Gerardo Sebastián García Victoria Hladilo Matías Feldman Santiago Gobernori Mara Guerra Show All…
Чрезвычайные истории, Opowieści niezwykłe
Really, it's three movies in one, cutting between three ninety-minute narratives about people trying to piece together clues to uncover the truth about something. That sounds awfully vague, but each story is very different from the others in its details, and only in the broad outlines are there any correspondences. So... being so dedicated to the idea of using detective story tropes as markers for existential concerns... it is Argentine AF. You know, Borges, Arlt, Cortazar, those guys. Shout outs in the movie to Adolfo Bioy Casares and (I think) Juan Carlos Onetti. Onetti was from Uruguay, but never mind about that.
And at the same time, it's a careful, impeccably controlled structuralist-film experiment, examining the ways that verbal content…
unironically the thinking mans Amores Perros
profound experience, can't wait to see this dude's 15 hour thing
on life: it's absolutely fucked. if we knew what was actually going on we'd lose our minds.. the things that happen just to get us from one point in the day to another point in the next are above comprehension... that there is more accident to it than a human can ever admit to in a lifetime and stay sane
"But nothing goes wrong" -Z,
Argentinian cinema is pretty damn good.
4 plus hour movies scare me... but this was cool because it's basically just three movies intertwined. I like the title here because it feels like a bit of a play on words. The stories are in fact pretty interesting but it's what director Mariano Llinás and the rest of the cast and production team do with them that draws the extraordinary out of the ordinary in ways that are beautiful and interesting. Also, the score kicks ass.
It's a marathon not a sprint.
Low-def DV and a narrator who speaks for his characters bridge myriad styles, moods and plots until cinema and literature are distilled into the simple, beautiful desire to connect with another human being. The Lola Gallo sequence is the film's own Molly Bloom chapter.
Hutch was exhausted. It had been a difficult year. First the virus. Then the isolation. His poor health. His stressful job. He’d only had three and a half hours sleep when he got up for his 6.00 AM flight to Auckland en route to Sydney. It would be 22 hours before he would be able to fall asleep again. But as he shuffled through the cavernous silence of the near deserted airport he felt calmer than he’d felt in months. He was looking forward to placing himself in the hands of others. First the airline struggling to make ends meet. Then the customs officers struggling to manage Sydney’s latest outbreak. He’d then wait patiently for a taxi to collect him…
Hay dos cosas que teníamos de niños y vamos perdiendo a medida que nos introducimos en los dominios de la razón: la capacidad de imaginar lo extraordinario en lo cotidiano y posibilidad de inmersión en la narración leída. Para quien juega, cualquier patio tiene enterrado un tesoro y cualquier puerta puede tener detrás un viejo león. Para quien lee, las palabras van generando imágenes, sonidos y una voz narradora que cuesta dilucidar de quién es. Es en ese punto donde el cine y la literatura estrechan su relación.
Mariano Llinás es, además de cinéfilo, un gran lector. ¿Cómo combinar esa vasta biblioteca de influencias literarias con las distintas etapas de una cinefilia nutrida? El director intuyó que la utilización de…
Used bookstore haul today: Nazi Literature in the Americas and Distant Star by Roberto Bolaño, The Stream of Life by Clarice Lispector. Read the latter in a single sitting and it absolutely knocked me out, reminded me a bit of reading Sarah Kane’s 4:48 Psychosis, just a terrific book. Clearly I’ve found myself in a Latin American Lit mood, and I’d been looking for an excuse to rewatch this (it’s been almost a year since my last time and that’s too long!), so despite the lateness of the hour I dove right in and now at 3AM I’m pretty sure this is a top-fiver for me, yeah. There are a handful of avant-garde films I only-barely-jokingly describe as having the…
“On the surface, an intelligible lie; underneath, the unintelligible truth.” - Milan Kundera, "The Unbearable Lightness of Being"
Holy fuck, this is everything and I don't know what these tears are for; they are for the deep melancholy, the profound joy, pure aesthetic assaults, disillusions, death and life. There is definitely more than one can grasp within one viewing and I must admit that the two intermissions were definitely necessary; somebody mentioned that it is like reading a novel but only way to compare this to that is through its pure cinematic quality, when two art forms are equal, cinema as cinema and literature as literature. It is apt comparison but we must remember that Extraordinary Stories preserves its cinematic…
Entirely offbeat and inventive, Llinás' triptych indie is miraculous in every sense and his dexterity of storytelling takes us into an enticing realm that yields intricate pleasures wholly. Employing flashbacks, ethereal sequences within its narrative structure encapsulate the mysteries, ambiguities, moments of sincerity, and liking effortlessly in an absolutely fascinating way.
In all honesty, "Extraordinary Stories" feels like an audio-visual novel, and that constant presence of voice-over narrated style guides us swiftly through all the happenings. Actually, its low-key DV shooting and diverse music score complement Llinás' catholic method of telling to reflect a significant impact on viewers. Rather than associating the characters with us forthwith, this film aims to earn a personal kind of experience by capturing close-up shots…
the ontology of storytelling. an inflection point where narrative and bliss coexist, with all the sorrow, love, comicality, acuity and candor. llinás develops various inventive efforts as the movie progresses, structuring every chapter in a bravely constructed way, establishing time as an unstabilizing point, as the stories will never end nor be fully comprehended. the possibilities of cinema have never been so miscellaneously yet so concisely disposed.
Vista en Odisea Cineclub, tercera temporada.
En Historias Extraordinarias, tres personajes sin nombre son el vehículo que utiliza Llinás para llevar al espectador de pasajero en un viaje a los rincones más mundanos y escondidos, explorando las cosas más apacibles y maravillandonos encontrando lo extraordinario en la ordinariedad. El director hablando con el espectador sobre vivir la vida y sobre la magia de encontrarla en las mayores pequeñeces posibles, porque eso es lo que le sucede a los 3 protagonistas (y a casi todos los personajes involucrados en sus historias); la obsesión y la reclusión intentando escapar de la contidianidad se convierte en un espiral sinsentido que los hace pe ser de vista lo verdaderamente bello e importante.
Hay un…
