<h1 class="pgc-h-arrow-right" > the movie we're talking about today is awesome! Let's take a look! </h1>
La Flor is the longest film in Argentine history, filmed from 2009 until 2018, and premiered at the 2018 Buenos Aires Independent Film Festival. The film consists of six stories, the first four stories have only a beginning, no end, represented by four upward arrows, the fifth story has a beginning and an end, represented by a ring, the sixth story has no beginning, starting from the middle, and going to the end, so it is represented by a downward arrow, and the combination of the six illustrations forms a flower pattern, so the film is named "Flower La Flor". The director appears at the beginning of the film and explains the origin of the title with a pen and paper, and the behavior of the direct dialogue with the audience shows that he is not prepared to hide the fictional traces of the story and stitch people into the narrative process, but to be honest about his creative plan, adjust people's viewing expectations, and invite the audience to enter the experiment.
Stills from La Flor from Flowers
The first story of the film uses the stylistic elements of the B-grade film to tell the Argentine-style zombie story; the second story uses a two-line narrative to mix and match the story of a pair of lovers breaking up and the gang organization studying immortal drugs; the third story revolves around a group of spies, the sequence, flashbacks, and interludes disrupt the linear order of time and space, and the flow of viewpoints provides a panoramic depiction, and the director also bluntly said in the interview that he was influenced by the Chilean writer Bolaño's "2666". The literary voiceover narration hijacks the picture, and the director also deliberately uses audio-visual to confuse the relationship between the characters, such as editing the two teams of spies who are not firing in the same time and space with positive and negative hits, using cinematic techniques to create illusions, making it detached from the literary description, and letting the audience get lost in the dispute between the picture and the sound;
"Flowers" La Flor work photo
The fourth story is the most reflexive, a meta-film about the crew, while the director also deliberately exposes his traces in the scheduling, showing fiction about fiction in a layered structure; the fifth is a remake of Jean Renoir's "A Day in the Country", which is contrary to the sharp tension of the spy story, which looks back at the silent film era and tries to establish a connection between picture and emotion in silence; the sixth story weakens the drama, although the subtitle cards interspersed from time to time tell the story - four women flee the Indian tribe, However, the camera shoots the characters through a layer of gauze, and presents daily fragments such as the characters resting and swimming, and the narrative and the picture once again form a sense of humorous contrast.
There is no plot-level connection between the six stories, and due to the length of time, they are often divided into three or four parts at the time of screening and distribution, but the difference between the stories is not a rupture, on the contrary, this is the focus of the film. The director mentioned Ingrid Bergman in "Love on the Edge of the Volcano" when expounding the concept of the film, and he believed that the moment when Bergman ascended the crater at the end was "the historic moment of the film". Because the character temperament at this time and the roles played by Bergman (the old lover in "Casablanca", the beautiful woman in "Rear Window", the spy in "Beauty Plan" (1946), etc.), as well as her own life experience and love history, are mixed together, overlapping on the same body, forming a "marriage between traditions". As a result, the history of actresses, the type of roles they have played, their personalities, and their gender temperaments have been accumulated into the expression of the film, and in the process, they are inseparable from the participation of the audience, because for the audience who do not pay much attention to the routines of Ingrid Bergman or Hollywood genre films, there will be no such impact. It is a narrative that is superimposed from the history of watching movies and the process of watching movies.
The experiments attempted by this film are also based on this, six stories starring four fixed actors, their names are Elisa Carricajo, Valeria Correa, Pilar Gamboa, Laura Paredes, in more than a decade of filmmaking, the traces of age on their faces have also been recorded. Therefore, between the six stories of "Flower La Flor", it is the force of "Casablanca" and "Beauty Plan" on "Love on the Edge of the Volcano", which provide different experiences in the accumulation of materials, and also connect people's memories with real time and movie time.
Compared with the "slow" or extreme pursuit of documentary, counter-narrative avant-garde attempts in neo-Argentine cinema (such as Lisandro Alonso's Freedom (2004) and Lucretia Martel's Swamp (2001)), the "newness" brought by Linas lies in its self-consciousness and ridicule of literary and fictional techniques. In terms of visual presentation, he also rarely uses the front and back to portray the complete spatial relationship, and is accustomed to placing all the characters on the same side of the lens, and uses the depth of field and focal length to dominate the viewpoint, so the strong stage style weakens the reality direction and enhances the fun of the game. In the dizzying narrative, the accumulation of time is an important process, but also an element that is directly displayed, whether in the wrinkles on the faces of the four actresses, or in the fleeting expectations of watching the film, the time of the film's screening, the time in the story, and the time and latitude of the audience's respective lives are alternate, which together contribute to the film's intention.
In the atmosphere of the game, the film explores the boundaries of fiction and also shows the creator's sense of introspection based on the film medium. It's an "interactive film" of calling friends and friends, a moment to connect yourself to others, to the world, to history.
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