La última película Screen 13 articles

La última película


La última película Poster
  • The reservations I had about the broader attitude the filmmakers held towards their film were neatly encapsulated in a central scene in which Perry scathingly rants about the new-age Western tourists amassing at the Mayan pyramid for the coming apocalypse. Are Peranson/Martin making fun of tourists, or are they making fun of people who make fun of tourists? Or both?

  • Equal parts invigorating and enervating, it implodes into a meta-travelogue of its own making. One of the only features to screen on film at TIFF, its medium is also its message.

  • La última película reminds me of those carnivalesque postmodern novels of the ‘70s and ‘80s. It’s chaotic, idea-packed, and frequently funny, but it’s also always on the verge of collapsing into a too-simple, juvenile pastiche. As with those pomo novels, evaluating a film like La última película is a challenge because the criteria are ever-shifting. The film is self-aware to a fault, anticipating and absorbing every critique with a wink and a nudge.

  • Though this exercise in cinematic self-immolation could puzzle viewers who don’t already write for Peranson at his magazineCinema Scope (myself included), the film compensates for its more wayward impulses with its caustic sense of humor and abundance of rapturous imagery.

  • ...La Última Película [acts] as a jittery manifesto that professes to look to the future, while, partly in jest, eviscerating the past. Images about images, commentary about commentary, are the hallmarks of this nonfiction film in the postmodern mode.

  • The dominant idea of LUP, which the filmmakers wisely play for mordant laughs, has to do with whether an artform can truly have a terminus. Can "film" die? By hinging together two very different eschatological notions — a material/industrial shift and the end of the world — Peranson and Martin provide a number of jarring images which all aim toward a particular vanishing point down the road.

  • It utilizes different film and digital stocks and an anti-narrative strategy to tell the story of its own making, as well as the making of the film within the film, and is a ruminative musing on the past, present and ontology of motion-picture photography.

  • Peranson and Martin employ an astonishing range of formal tricks and fireworks to suggest that the movie is spiraling towards either a kind of artistic apotheosis or a sort of self-destruction: jittery tracking shots in which the camera clings to the back of its subject’s head, static talking-head interviews, occasional rapid-fire associative montages, and, in one scene, an impressive 360-degree vertical camera rotation.

  • Raya Martin and Mark Peranson’s La última película is, among several things, a meta-commentary on its own layered being, a jocular doomsday journey through the collapsed scaffolding of the medium itself... It’s a purposely paradoxical work, caustic and vulnerable, playful and grave, a flickering montage of photographs and an upside-down tracking shot—and, in its mingling of artifice and raw materials, the ideal opener for this adventurous series.

  • This double movement of critique leaves only Rodríguez, the native, in a position of clarity, and indeed, if La última película is anyone’s movie, it’s his. This centrality is confirmed by his involvement with the film’s emotional core, a match of sound and image that is, in its absolute simplicity, one of the most beautiful and moving sequences that the cinema has produced.

  • La última película manages to be entirely unpredictable without sacrificing a depth of thought and concern for the art of filmmaking no less potent than its tongue-in-cheek mockery of cinema’s ideologies... The film’s heterogeneity, and projection on sumptuous 35mm, calls whole-heartedly for openness to cinema’s multitudinous possibilities.

  • The film is both a revision of and spiritual successor to Dennis Hopper's 1971 fantasia The Last Movie, as Martin and Peranson carry over the deflating of Western mythologizing, while also augmenting the critique of imperialistic mindsets Hopper only touched on. Ultimately, La Última Película isn't so much about "the end of cinema" as it is about the people who abuse the medium and their subjects for their own political agenda.

  • Martin and Peranson, a savvy pair, appreciate their outsider status here, and they remain uncommonly sensitive to even the subtlest ways that ignorance and entitlement may manifest themselves — both in art and in our relationship to it. (And they are attuned, as well, to the sense in which culture itself involves performance: There are layers of artifice around Chichén Itzá that are difficult to penetrate.) This is film, needless to say, at its most studious.

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