Two ghosts walk along the Camino of Santiago.
Two ghosts walk along the Camino of Santiago.
The sublime and the ridiculous embrace balletically in Sergio Caballero's astonishing debut film. The two central "ghost" could just as easily be Withnail and Marwood as Rosencrantz and Guildenstern, illustrating perfectly that this film can be enjoyed on both of Clement Greenberg's famous levels: see this as an art film and one can easily miss out on the one-liners and comedy, whilst taking this film on face value means that numerous literary and historical allusions could pass one by.
I never thought a red and white windsock could be so beautiful.
An aesthetic exercise, or images simply packed with emotion? Unafraid to be silly, I felt things through the command of the image.
Sergio Caballero's debut is quite intriguing in its execution (much like his film The Distance) wherein he gathers and obtains the visuals before creating a script, with the addition of dialogue being the final step. It worked in The Distance and to a certain extent it works in Finisterrae, however, the script born out of Finisterrae's visuals is a bit too slight and aimless.
The visuals are still there though as cinematographer Eduard Grau and Caballero shown no problem in the obtaining visuals department. Frame after frame of landscape splendor on the Camino de Santiago as two ghosts, on horseback and with windsock, make their pilgrimage to the The Cathedral of Santiago de Compostela. The beauty gets kicked up a…
This has to be one of the oddest films I've seen recently. It was pretty aimless, which I guess is part of the directors technique, but it has some arresting images and the sheer uniqueness of it all certainly warrants some minor respect. It's not really a good movie in the traditional sense. Still worth a watch if you like weird, semi-pointless films.
An interesting experience, yet one with a few crippling flaws surrounding Caballero's approach:
1) By adding a script to the images after gathering the images themselves; there is a fundamental implication that the images need words to become meaningful;
2) This same manner of working means that the images are less the focus than the words, even though Caballero's intent focus on the aesthetic content is clear; the plotting is only secondary;
3) There are moments of fluid laziness here, an overwhelming feeling that 'the film will get better when we add words to it,' but even the words are a little hollow - what's the core idea? There are only rare moments of true cohesion, and these mostly come at points where;
4) The film drops all linearity and creates a shot that stands by itself, without respect to that which came before and will come after.
This was more like a test - I wanted to see if this audiovisual experiment is still a 5-star achievement in my eyes, almost 10 years later. Oh, yes - it still fucking is.
This is Sergio Caballero’s debut and it’s one of a kind. He is one of the co-founders and organisers of Sónar, a well-known experimental music festival in Barcelona where he’s responsible for the visuals, so no surprise he ended up directing a movie of his own.
It’s poetically surreal and eerie, and it’s got 2 ghosts wandering around and about, on foot and on horseback, features tracks by Suicide and Nico - what more can you ask for? And it also has got contemplative Russian-language voiceover to add even more to its bizarreness or perhaps it’s more like a homage to Tarkovsky? Who knows..
Not everyone’s cup of tea, that’s quite obvious.
Oh, and that beautiful ending with a reindeer!
Os fantasmas se divertem?
The imagery is magnificent, but It's not clear to me what Sergio Caballero was trying to tell in this absurd but somehow fun film about two ghosts doing El Camino de Santiago.
None of my words will do this movie justice and I have no idea if it can even be rated with stars.
All I know is... very few people will ever watch this and even fewer will like it.
Durante un tiempo he pensado que entendía qué estaba pasando o por lo menos por qué pero al cabo de un rato se me ha pasado. Volveré a ella y creo que merece la pena ver esto aunque sea por el hate.
Me la puse para dormir premeditadamente y ni ese placer me dio.
Finisterrae is a cross between Stalker and Nostalghia, but with a sense of humor. It might seem odd to start a review of a Spanish surrealist film with a Tarkovsky comparison, but Tarkovsky is a much closer cousin to Caballero than Buñuel or Jodorowsky or Arrabal - Finisterrae has none of the violence or political fierceness of those directors' films.
The first clue is that most of the movie is in Russian, even though it is set in Spain. But then, language is fluid in Finisterrae. The intertitles are in Catalan, most of the dialogue is in Russian (except for an encounter with a German-speaking hippie), and the end credits start in Spanish before switching to Catalan. You get the…