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Directed by=Mariano Llinás
liked it=365 Votes
user Ratings=8,7 / 10
writed by=Mariano Llinás
Country=Argentina
year=2018
Like Sí todavía escuchan esta canción en Marzo del 2020! SALUDES DESDE COSTA RICA. Te extrañamos tús fans mi querida Reyna. Un saludo desde España a todos tus fans... 😘😘😭. Mariano Llinás’s 13-hour cinematic puzzle is a labor of love and obsession. Credit... Grasshopper Film La flor Directed by Mariano Llinás Drama, Fantasy, Musical, Mystery, Romance, Thriller 13h 28m From peak TV to the Marvel Cinematic Universe and beyond, we are surely living in an age of serial narrative. A simple, linear story can look as quaint as a VCR or a landline phone. We prefer our plots twisted, nested, networked, layered or otherwise complicated. “La Flor, ” more than 13 hours long, divided into six sections (not counting subchapters, interruptions, a brief prologue and a 40-minute final credits sequences) is both an example of rampant serialism and a commentary on the phenomenon. The film, a labor of love and obsession by the Argentine filmmaker Mariano Llinás, also gestures backward to older cinematic and literary precedents. Fans of Jacques Rivette’s discursive, ontologically mischievous fictions — especially the long and legendary “Out 1” — may detect traces of his influence. There are touches of the playful, philosophical fantasizing of Raúl Ruiz. A touch of Buñuel. Hints of Borges and Bolaño. There’s a lot to think about. Too much, perhaps, and also maybe not enough. A man we assume is the director shows up at the beginning to provide a brief synopsis of what’s coming up and an explanation of the title, which means flower in Spanish. He diagrams the six parts into a sketch of dubious horticultural accuracy, but it seems to make sense. Later, this fellow will show up, looking increasingly weary, to check on our progress, boost our morale and bid us goodbye. In the meantime — early in the fourth chapter — a character will show up who looks a bit like him and who happens to be a filmmaker working on a multipart project graphically represented by a spider. Though one of the crew thinks it looks more like an ant. All of the films within the film — except for the fifth one, and significant parts of the third and the fourth — star the same quartet of women. Their names are Elisa Carricajo, Valeria Correa, Pilar Gamboa and Laura Paredes, and you are likely to miss them when they’re not onscreen. They play scientists, chanteuses, international assassins, 18th-century seductresses and also actresses appearing in the film “The Spider, ” which is and is not a parody and a companion piece to “La Flor. ” Are you still with me? Staying with “La Flor”— which is being shown in theaters in four parts, each with at least one intermission — requires effort as well as stamina. The first two chapters, a quasi-horror film about a mummy and a musical melodrama about battling divas and renegade scientists, are compact and satisfying, even though each one ends abruptly in the middle. (That’s not a spoiler. We’re warned about this at the outset). Chapter three, also inconclusive, is one very long middle, or maybe a clump of middles, like a breadless club sandwich. It’s an espionage thriller of the kind that, according to the director, “the Americans used to make in their sleep. ” Maybe so, but Hollywood has always preferred if audiences stayed awake. The tension that the first chapters so deftly built up and manipulated is allowed to dissipate. I don’t think this is an accident, but rather an experiment. What if a story slowed down when we wanted it to speed up? Would we still be interested? Chapter four adds a metaphysical dimension to the inquiry, inviting us to care (or not) about situations that may only be the figments of fictitious characters’ imaginations. This can be enjoyable as well as exasperating, and part of Llinás’s intention seems to be to explore the boundary between those two states. “La Flor” is perhaps more fun to think about than to sit through, though there are some exquisitely beautiful sequences. A sort-of remake of Jean Renoir’s “A Day in the Country” is charming (as is the original), and Llinás has an eye for the sublime and austere landscapes of Argentina and the expressive, enigmatic faces of his stars. In various parts of the movie, they play members of secret societies, cabals and cults, and “La Flor” feels like both the product and the potential object of such esoteric fascination. Centuries from now, you could imagine a collector digging it out of obscurity, dusting it off and setting out to solve its puzzles. That would be a fitting sequel. La Flor Not rated. In Spanish, French, Russian, German, Swedish and English, with subtitles. Running time: 13 hours 28 minutes.

6 wins & 12 nominations. See more awards » Edit Storyline Feature film broadcast in 4 parts. "La Flor" robs the cinema in six episodes. Each episode corresponds to a cinematographic genre. The first is a B-series, as the Americans used to do. The second is a musical melodrama with a hint of mystery. The third is a spy movie. The fourth is an abyss of cinema. The fifth revisits an old French film. The sixth speaks of captive women in the 19th century. My all forms "La Flor". These six episodes, these six genres have one thing in common: their four actresses. From one episode to another, "La Flor" changes radically universe, and each actress moves from one world to another, from one fiction to another, from one job to another, as in a masked ball. It is the actresses who advance the story, it is they too that as and when the film reveals. At the end of the story, at the end of the film, all these images will eventually draw up their four portraits. Written by ARP Sélection Plot Summary | Add Synopsis Did You Know? Connections References A Day in the Country (1946) See more » Soundtracks Yo Soy el Fuego Music by Gabriel Chwojnik Lyrics by Mariano Llinás See more » Details Release Date: 2 August 2019 (USA) Box Office Opening Weekend USA: $2, 308, 11 August 2019 Cumulative Worldwide Gross: $4, 032 See more on IMDbPro » Company Credits Technical Specs See full technical specs ».

S ix or so hours into Mariano Llinás ’s 13-hours-plus arthouse ultramarathon, the third episode of the third chapter begins with a long bout of snoring. That’s the presiding meta spirit of this magnificent, inventive, playful, exasperating film, Argentina’s longest ever, shot over 10 years. In its nexus of stories, La Flor inevitably invokes the country’s fabulist god Jorge Luis Borges – but as if Llinás had given up on the metaphysics, stopped trying to exit the labyrinth and was content to watch folk passing through. The director pops up at the beginning on a park bench to explain that its six stories, featuring the same four female actors, form a structure: four stories rising up with a beginning but no end (the petals), one totally enclosed central tale (the ovule), a closing one that proceeds from the middle to the end (the stalk), making a flower (hence the title). It might add up, it might not. Even more than Borges, La Flor recalls Tristram Shandy, both in its loquacious literary bent (Llinás has worked extensively as a screenwriter) and its gentle deconstruction of the purpose and proclivities of fiction. From the very first segment, a B-movie “of the kind the Americans used to make”, about a research institute that accepts the delivery of a sinister Inca mummy, most of the stories come larded with a melodrama that seems designed to foreground the artifice. La Flor is terminally prone to digressions, tales interrupting other tales, such as the weird scorpion-milking immortality cult that juts into the second episode, until then a matinee tearjerker about a pair of singer-songwriters splitting up. Llinás’s fun, spirited writing stops these games from seeming arch. Unlike the social-message remit of Miguel Gomes’s similarly sprawling 2015 trilogy Arabian Nights, Llinás’s motivation seems entirely philosophical. The third episode – a spy thriller, or, given its five-and-a-half-hour runtime, anti-thriller – may contain the nub regarding fiction and the point at which we suspend disbelief. One character talks fearfully of the “tsetse fly”, an existential affliction spies are prone to being stung by – in which either a disgust sets in with the fiction they are forced to live, or they start to over-identify with this false reality and go rogue. “Suddenly that bunch of motherfuckers was her world, ” says the narrator of Pilar Gamboa’s mute spook, undercover in Westminster. Anyone still sitting there after six hours will sympathise. Gamboa is frequently extraordinary in the early instalments, especially as the spurned singer who unleashes an incredible torrent of verbal violence at the start of number two. Laura Paredes, whose serene melancholy seems to survive whatever character she plays, also stands out. Madness seemed to be setting in by chapter four, about a director under siege from his four principals, who are also witches. The fifth is a loose remake of Renoir’s A Day in the Country, the sixth about 19th-century women escaping from captivity in the desert. You will no doubt bail out at some point – but that’s part of the deal. Llinás has done enough to make sure we come back. • La Flor is released in the UK on 13 September.

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Ozuna neta neta te amooooo💗💗💗 💗. Diciembre 2019❤💫. La escuchas, como yo, en 2019. The fourteen-hour Argentinian movie "La Flor" is a theoretically interesting, but consistently unrewarding formal experiment. Writer/director Mariano Llinas appears onscreen early on to set up the film’s unusual narrative structure: six story fragments (four without an ending, one without a beginning, and another without a start or finish), none of which are overtly related to the other beyond the recurring appearance of actresses Elisa Carricajo, Valeria Correa, Pilar Gamboa, and Laura Paredes. Each vignette is (basically) representative of a different genre: Episode 1 is a horror film in the style of “American B-movies, ” Episode 2 is (kind of) a musical, Episode 3 is a spy-thriller, etc. Llinas uses these incomplete, semi-deconstructed sketches to over-stress the tyranny of story-driven movies given the general shallow-ness of (movie) genre tropes and (cinematic) character development. There’s even a story about a filmmaking crew that struggles to make a movie about trees, as if Llinas were desperate to underscore how much fun it is to not see the forest for the eucalyptuses. If only his boring meta-comedy conveyed the joys of exploratory rambling instead of just being the arthouse cinema equivalent of strung-out Quality TV dramas like “Lost” or “Westworld:” I am impressed by how much space it takes up and never want to see it again. Divided into four parts, “La Flor” is an event film whose ideas and pleasures are ostensibly revealed while you watch. In “Episode I, ” we get a tale of the supernatural that’s seemingly about the pleasure of waiting for something to happen, though an ancient mummy does eventually transfer its gluttonous, flesh-eating spirit from its desiccated human body to a feral cat and then a hapless scientist. “Episode 2” is less straight-forward, thanks to its momentum-crushing reliance on banal flashbacks and scads of expository dialogue: a group of frustrated musicians, who are struggling to collaborate on a project, explain (at length) why that project isn’t quite coming together, until all their talking finally paves the way for a transformative musical performance. This song number (the highlight of “La Flor”) is presumably allowed to resolve some of the movie’s otherwise unresolved narrative tension, because “La Flor” is more about performance and collaboration than narrative utility, or something (ie: it’s beautiful in a purely ornamental way, as Llinas explains in this characteristically unfocused, academic Cinema-Scope interview). “La Flor” starts to become more overtly about what it’s about—improvisation and exploration for its own sake—in “Episode 3, ” a hideously distended spy thriller that’s divided into three interminable parts. Episode 3 is basically a bad shaggy dog joke, except the joke is about the perfunctory and unrevealing means by which most story-tellers try to appease viewers’ interest in understanding and relating with fictional characters—in this case, a group of spies who converge on an airfield while they wait to escape and/or be killed—through flashbacks, voiceover narration, and tangential backstories. But Llinas often seems to be joking at viewers’ expense given how deliberately frustrating, unfocused, and/or meaningless his stories are. The difference between Episodes 1 and 2 and 3-6 is that after a while, Llinas explicitly lets viewers in on the joke: he doesn’t care about linear, neat stories, and neither should we. I mean, ok, that’s definitely the premise for a film and/or a college exam. But can it be compelling unto itself, too, please? Sometimes, I guess. Llinas’s characters often repeat themselves to each other—as in Episode 2: “Do you know the story? ” “The story? ” “Our story. The story. ”—but their ping-ponging dialogue has no snap, just a restless energy. And most of the movie’s deliberately overheated voiceover isn’t very interesting, like when a narrator from the third part of “Episode 3” observes that one spy “didn't look like an assassin or a guerrilla woman. Rather, she looked like a little girl who had got a couple of scratches riding her bike. " Even the film’s funniest jokes are distracting for how shapeless they are: Llinas’s actresses are clearly talented and work as an ensemble, but they’re also obviously just riffing on some ideas without a clear goal in mind. That high-wire act can be impressive for a while (on an intellectual level, anyway), but is eventually just belabored and monotonous. We get it, you act. Llinas treats viewers to some of his movie’s most beautiful images towards the end of “La Flor, ”especially in “Episode 5, ” a silent homage to Jean Renoir ’s “A Day in the Country”: two couples flirt with each other and enjoy an afternoon idyll together. But by this point, watching “La Flor” is like being on the last legs of a road trip with a group of people you’ve grown increasingly alienated from. Look at the happy artists, they’re having fun playing with themselves; good for them, can I go home now? Simon Abrams Simon Abrams is a native New Yorker and freelance film critic whose work has been featured Esquire, the Village Voice and elsewhere. La flor (2019) Rated NR 868 minutes about 2 hours ago 3 days ago.

Nunca nem vi essa menina rsrs mas que talento que voz mas linda agora me pergunto porque não conheci essa menina antes?Kkkk lindaa... ❤😍😘💕💕. La Flor - Grasshopper Film Mariano Llinás / 2018 / 14h 28m (3 parts) / Argentina A decade in the making, Mariano Llinás’s La Flor is an unrepeatable labor of love and madness that redefines the concept of binge viewing. The director himself shows up at the start to preview the six episodes that await, each starring the same four remarkable actresses: Elisa Carricajo, Valeria Correa, Pilar Gamboa, and Laura Paredes. Overflowing with nested subplots and whiplash digressions, La Flor shape-shifts from a B-movie to a musical to a spy thriller to a category-defying metafiction—all of them without endings—to a remake of a very well-known French classic and, finally, to an enigmatic period piece that lacks a beginning (granted, all notions of beginnings and endings become fuzzy after 14 hours). An adventure in scale and duration, La Flor is a wildly entertaining exploration of the possibilities of fiction that lands somewhere close to its outer limits. (synopsis courtesy of the Film Society of Lincoln Center) VOD La Flor is now available to stream! READ ON TRANSMISSIONS → Mariano Llinás’ 10 favorite films list Also Available On "An astonishment... a dazzling collision of stories and genres, flashbacks and voiceovers, games and riddles… extraordinary... sweeping and addictive… the definition of a must-see. " — Justin Chang, LA Times "The Best Film of the Year! For nearly fourteen hours, this protean magnum opus, held together by an extraordinary quartet of actresses, immerses us in the pleasures of densely detailed fiction. " — Melissa Anderson, Artforum "One of the Ten Best Films of the Year. It’s thrilling to watch the four actresses’ performances and personas blossom as each episode unfolds. " — Hyperallergic “A marvel. La Flor is like nothing else you’ll see this year — or next year, last year, or any other year. A singular experience. ” — Michael Nordine, The Wrap "One of the Ten Best Films of the Year! As ambitious as anything released in the past decade, let alone year. " — Slant Magazine “One of the 25 best Latin American films of the decade (#2)! A remarkable and mad-capped feat… A singular achievement… One of the years most compulsively watchable and exuberantly epic films. ” Remezcla — Cinema Tropical “A love letter to cinema itself. The movie earns its length, and will fully reward anyone willing to take it on. ” — Dan Schindel, Hyperallergic “A labor of love and obsession by the Argentine filmmaker Mariano Llinás… There are touches of the playful, philosophical fantasizing of Raúl Ruiz. A touch of Buñuel. Hints of Borges and Bolaño. ” — A. O. Scott, The New York Times “Grade: A. A landmark in filmmaking. ” — Leonardo Goi, The Film Stage “A triumph. A colossal artistic achievement by a filmmaker who can be declared genius, mad, or an impostor (or all of them). It’s predestined to inspire a well-deserved cult. ” — Guillermo Lopez Meza, Film Forward “Extraordinary. One of contemporary cinema’s great collaborative undertakings. ” — Jordan Cronk, Cinema Scope "The mere fact of its existence is cause for amazement, but even more astonishing is the impression that it is just the tip of an iceberg—that it could keep going, a never-ending film. " — Dennis Lim, Film Comment Trailer / Clips.

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