Eureka

A new film by critically acclaimed Argentinian director Lisandro Alonso portrays a transcendental reverie divided into 4 separate pieces that shifts between time and space. A long awaited comeback from the author who had been silent for nearly 10 years since his last aesthetically crafted - Jauja.

It starts right off the bat with a middle-aged cowboy who is off to find his stolen daughter. As it usually occurs with Alonso, he is not genuinely bothered about present tense on screen. For the first half an hour, it narrates a standard black and white western story of a main hero (Viggo Mortensen) wandering around a Wild West town seeking his daughter. A sophistically portrayed picture conveys and transcends viewers into the cowboys and Indians old fantasy world where drinking and prostitutes fill up pretty much the whole space.

Out of blue story twists and pushes us into a modern life stance where a Latin female lieutenant patrolling night streets of a small U. S. reservation while her niece reunites with her grandfather. With a pelican flap of wings, it slowly but irrevocably flies us into rainforest jungles where locals struggle with life. The action slowly flows through visually aesthetic references to Tarkovsky and silent, almost motionless Bresson shades. It is also worth mentioning how casually Lisandro intertwines the same actors playing different characters and archetypes as the film shifts gears.

Overall, Alonso nearly three-hour-long odyssey is arguably the most exciting and soothing ciné experience of the passing season.

I love slow film- but this film is pretentiously long with nothing to say. It's like the director watched Kelly Reichardt's Certain Women and wanted to recreate the temperament but didn't know why. The direction is quite weak, all actors don't seem to feel much of anything when they speak their lines. They don't seem to mean anything. The annunciation seems to always be at the wrong parts of the words, might be a non native English director thing?

146 characters to go. I don't have much else to say. Just disappointed something like this can be accepted into Cannes. Maybe because of indigenous people and first time actors and Viggo and nice glass behind the camera? I can't think of other reasons why.

I signed up for MUBI for 1$ and was hard-pressed to find anything suitable (for me) to watch. However, I like Viggo and decided to give EUREKA a try. Don't worry about spoilers since I have NO plot facts to explain. I haven't a clue.

We start with an Old West tale: Viggo rides into the most decrepit town EVER in the old West, looking for his kidnapped daughter. In short order, he shoots 4 people. He finds her in some rich guy's room. Issue unresolved.

Next, we meet a pretty, but slightly overweight, female patrol officer (modern times), probably a single mom, out of a N. Dakota Indian tribe. The pace slows down, more questions are asked, and only half are answered. If this part of the story was designed to give us insight or positive feelings about our Aboriginal people, the Scriptwriter needs a serious refresher course. One young level-headed female tells her brother that she probably will take a trip. Where?, he asks. I don't know, she answers. Then her grand-father gives her a magic cup of tea and a stork shows up. (Oh.. I forgot: I think the police officer is MIA.. no explanation).

The stork whisks us to a small village in Brazil. Kids play in a spring. (This reminds me of a poem written by a high school colleague. His review question was, What is meant by Olaff's head? -There was no Olaff in the poem). Then, the rural police show up and a train rolls by. Huh?

I am a Bob Dylan fan and I can explain any number of symbolisms in his obscure lyrics ('Ghost electricity howls in the bones of her face, But these Visions of Johanna have not taken my place').. But EUREKA? Haven't a clue.

Greetings again from the darkness. Part of my attraction to arthouse films is the often-unconventional path to storytelling that the filmmakers take - sometimes expending more effort on the look and style than on the characters and plot. These films once only had life in film festivals, and today many also carry on in the streaming revolution. I'll go ahead and admit upfront that this latest from Argentinian filmmaker Lisandro Alonso (JUAJA, 2014) and co-writers Martin Caamano and Fabian Casas is a bit esoteric for my tastes ... although it looks beautiful.

There are three pieces to Alonso's film (a triptych) and they are not connected by character or location or time, but rather by spirit and the journey of indigenous people. The opening segment plays like a traditional western (filmed in black and white) with Murphy (Viggo Mortensen) searching for his daughter who has been taken by an outlaw. After catching a wagon ride from a nun in tattered habit, Murphy deals with the town's lady boss (Chiani Mastroianni). The segment ends abruptly, and we find ourselves in modern day with Alaina (Alaina Clifford) and her niece Sadie (Sadie LaPointe). Alaina is a Sioux reservation policewoman in South Dakota and Sadie is an upbeat basketball coach at the local high school. We ride along with Alaina on her frustrating evening route, and Sadie visits her brother in jail, and makes a final call on her grandfather. A giant pelican-type bird then takes us back a few decades to a South American jungle for the final segment. A ragtag gold prospecting crew is made up of locals trying to get rich and those trying to take advantage.

No more should (or even can) be told about these three segments, and filmmaker Alonso purposefully leaves any message up to individual viewers' perspective and interpretation. Most will agree that each segment is beautifully filmed and acted, even if a traditional story is nowhere to be found.

In limited theaters on September 20, 2024.

The movie starts off black and white with Viggo Mortensen dropped off in the middle of the Extremely Wild West by a sulky lady on a cart delivering a child's coffin. Little do we know we are at the beginning of a hypnotic trip full of enigmas and feathers, where at one moment everything feels very real and fleshy to say the least, and at next, a huge red-necked stork appears and transfers us back in time again, to a Brazilian selva, where we're listening to yellow-armed dreams. Gold will be washed and the bird will return making someone else disappear. Eureka!

Knives and guns, basketballs, police codes, a magic potion, heavy snow, wild waterfalls: all of those tell us a mystic never-ending story of America's indigenous population, ignoring the notion of time, structure or shape.