La Flor: Part III 2018

Directed by Mariano Llinás World

Spanning international espionage, torch song melodrama, supernatural horror and silent film homage, Mariano Llinás’ eccentric and expansive narrative epic is a Herculean film creation – and at 14 hours, a record-breaking one. Screening in three parts.

Part III:
(83 mins + 15 min intermission + 101 mins + 15 min intermission + 106 mins)

Jul 28

Event Cinemas Queen Street (Cinema 10)

Aug 01

Event Cinemas Queen Street (Cinema 10)

Argentina In English, French, German, Russian, Spanish and Swedish with English subtitles
320 minutes DCP
M
violence, offensive language, sexual references & nudity

Director/Screenplay

Producer

Laura Citarella

Photography

Agustín Mendilaharzu

Editors

Agustín Rolandelli
,
Alejo Moguillansky

With

Elisa Carricajo
,
Valeria Correa
,
Pilar Gamboa
,
Laura Paredes

Festivals

Locarno
,
Toronto
,
New York
,
London 2018; Rotterdam 2019

Production designer

Laura Caligiuri

Music

Gabriel Chwojnik

Elsewhere

At the beginning of this unparalleled movie event, director Mariano Llinás, looking exactly like a man who’s spent the last ten years of his life completing a film, explains to the camera what we’re about to witness. Six episodes – some without endings – and a multitude of genres, languages and destinations swirl around four actresses, who are on screen from start to finish. Llinás sounds eternally grateful – and a little apologetic – for their unerring devotion to his mad project, making it clear that La Flor is by and for these talented women.

In the consistently surprising 14 hours that follow, a cursed mummy attacks a team of scientists, an estranged musical couple reunite to record another hit ballad, a secret society schemes over the elixir of youth, and an outfit of secret agents awaits a showdown with rival assassins. Later, we meet a filmmaker who’s obsessed with shooting trees, and there’s even a silent black-and-white remake of Renoir’s A Day in the Country in the mix.

Easily the longest film this festival has ever programmed, Llinás’ follow-up to the brilliant Extraordinary Stories (NZIFF08) may also be one of the most playful we’ve ever seen – too playful for the realms of mass-produced modern television, to which it bears no comparison. With its offbeat creativity and reinvention of cinematic clichés – often refocused through the gaze of Llinás’ wonderful female troupe – La Flor figures movie-making, when liberated from both feature film duration norms and long-form narrative expectations, as a kind of giant artistic and storytelling sandpit. A marvel. — Tim Wong


Episode IV
In La Flor’s most self-reflexive chapter, an auteur prolongs work on his never-ending film production to photograph trees and revise his script. The four fed-up actresses, who may or may not be witches, invite the suspicions of a paranormal investigator after the film’s crew go missing.


Episode V
A near silent, black-and-white dalliance between two city women and two country boys. Based loosely on Jean Renoir’s lovely, lyrical – and famously unfinished – A Day in the Country (1936).


Episode VI
Shot through a turn-of-the-century haze, four women wander a barren landscape as intertitles, excerpted from a 1900 account of an Englishwoman’s escape from Native Americans, bring La Flor to a close.

La Flor: Part I  

La Flor: Part II