dmartincannon This "film" has about 5 minutes of material, and even that is pretty uninteresting. Loneliness, bleakness, alienation, alcoholism, all have done before a thousand times better than this. Endless scenes of minimal content, virtually no dialogue, opaque characters, all add up to a movie that can be watched at triple speed with no loss, because, despite claims for it as a bleak masterpiece, there is no THERE there. How many times do we have to watch this man trudge through the snow, put on his coat, take off his coat, eat a meal? How did such a film ever get financed? Perhaps a state grant? Maybe some leftover funds to be distributed before the end of the fiscal year? There is no other explanation. Don't waste your time.

filmalamosa Normally I like neorealism or just plain realism type films--films that show real people in a real environment.However this by itself is usually not enough... the main character or characters in these films whether professional actors or not...have to be able to carry the movie. They have to have some ability to show the theme of what the film is about.In this film it would be going back to a place you came from and finding the people cold or indifferent (his mother did not even recognize him).Fine this is a good theme... but the actor in this film does not react in a convincing way to that type situation...so what you end up with is a bunch of real life scenes and faces but nothing else in fact the sailor kind of destroys the film he could be left out and you'd have a better result.

dermotrathbone This is one of those films, which gets better in your mind the more you reflect on it.The director before the showing, spoke to us about what he was trying to create, that is a simple piece about a guy's search for meaning.I thought he succeeded really well. The cinematics were bold, but worked to make an emotional impact. For example we see a whole four-minute single shot of our man packing his bag to leave the ship. No dialogue but the superb and understated acting by Nieves Cabrera leaves us in no doubt that this is a man in turmoil and on the cusp of facing his demons.In fact the single shot, no dialogue gambit is deployed a great deal in this film, but it works due to Cabrera and no little contribution from the stunning and unforgiving sub Antarctic scenery.This is a personal journey, brilliantly done by the director and his lead. Thought provoking and real sums Liverpool up for me.

Roger Alan Koza With less than 80 shots and faithful towards an idea of cinema, the fourth Lisandro Alonso film repeats the best of his previous works and goes toward a new territory, let's say, a poetic minimalist narrative, complex and simple at the same time, but always plethora of many readings. A man called Farrel works in a big ship, a sailor, of course. When he arrives in the southern city, Usuhuaia, he asks for permission to his captain to go somewhere; it seems to be her mother lives in a small village, not so far from there. But, there's a secret agenda which is about family matters but not strictly maternal issues, an undisclosed purpose till the very end, in which a narrative twist will be revealed through a "fetish" key-chain with a name on it. It's a movie about solitude and the longing for otherness, although it's also a portray of human beings as existential animals deeply rooted in landscapes, in this case the majestic cold mountains from Tierra del Fuego. Formally daring, there're many passages in this film which can be seen as paintings in movement, although it's a narrative decision its bravest choice: his main character, Farrel, will leave us 30 minutes before the film ends.