Minotaur Screen 5 articles



Minotaur Poster
  • Nicolás Pereda’s recent work, particularly his last two features Greatest Hits (2012) and Los ausentes (2014), already represented a substantial reduction of means when compared to the relatively action-packed Perpetuum Mobile (2009) and Summer of Goliath (2010). But with his latest, Pereda has achieved a genuine comedy of stasis. How much further away from his (admittedly ironic) “perpetual motion” could Pereda move?

  • It's a simple but enchanting film, its 55-some minutes are exactly what it needs to stretch a kind of three-page fable into cinematic languor.

  • Minotaur works best with its ideas on the periphery. At its core, it’s a Warholian comedy with perfectly framed 1.85 shots, natural light, simple palettes of white and off-white... When asked “Are you exhausted of relaxing too much?” another character responds “I don’t have a computer.” That’s Pereda’s humor, fully grasping the somnolent mind and producing the best film at the festival.

  • How does one make a film in which nothing ostensibly happens and manage to avoid both boredom and pretentiousness? Nicolas Pereda does so in Minotaur. Set, in Pereda’s words, in “a home of soft light, of eternal afternoons, of sleepiness, of dreams,” the film is neither a study in stasis nor, properly speaking, minimalist. Its comfortable, gutsy wide-screen compositions within a single apartment seem as natural as the ambience and the behavior of its “characters.”

  • ...Also impressive were two features shot just below the U.S. border. Nicolás Pereda’s Minotaur is set almost entirely within a Mexico City apartment, where three young adults are stricken with a pathological and decidedly bourgeois ennui. Pereda choreographs them – and their put-upon housekeeper – like alienated wanderers in an early Tsai Ming-liang film.

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