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TIFF REVIEW: LIVERPOOL

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“And you want to keep moving / and you want to stay still / but lost in the moment some longing gets filled?”?Joni Mitchell, “Barangrill”


They say the cleanest line of nature is the horizon and whether one empties one’s longing gazing from sea to land or land to sea, from the present to the past and back again?shifting projections from one to the other?the gamble is that desire (configured as what one looks for or looks at) will somehow fulfill you. In Lisandro Alonso’s Liverpool, the longing to remember and to be remembered is so intense it measures as body’s grief, moreso than the body of desire. Movement becomes the only available fulfillment and memory itself becomes the effort at remembering. The most token of connections becomes all that’s left to hold onto of origins, lineage, and family.

Spatiality governs and informs Alonso’s Liverpool. Interiorized spaces contrast against vast expanses of nature (both literal, and simulated as when Farrel (Juan Fernandez) eats a meal in a restaurant whose murals are an autumnal birchwood forest). Small ship compartments, small households, feebly contain the thoughts otherwise emptied into wintry landscapes. Compromised subjectivities contrast with compromised social spaces. Alonso places his camera to capture them all, large and small, thereby expressing the home one escapes and returns to, and the wandered distance between Liverpool and Ushuaia, the southernmost town of Argentina.

Liverpool is composed of beautifully articulated images. Dark long-eared rabbits in the snow. Snowcapped mountain ranges acheter levitra. A poster of Jesus pinned to the inside of a door. Farrel sitting alone at a long red table set against a green wall. Farrel’s eyebrows raising in bemused disbelief when Analia (Giselle Irrazabal) asks him for money and what her request tells him. What he must feel when his frail, ailing mother tells him she was just a little girl when he had already grown tall. By accretion, not through narration, a story is told.

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