Lisandro Alonso is an Argentine filmmaker who first gained international recognition in 2001 with his debut film “La Libertad,” and whose last work, “Jauja,” won the FIPRESCI Prize at the 2014 Cannes film festival. He is currently a research fellow at the Radcliffe Institute for Advanced Study. The Crimson sat down with Alonso to discuss his thought-provoking body of work.
“Frantz” walks and talks like arthouse cinema, and it could be placed in competition at any major film festival without anyone batting an eye (the film screened at Venice). But its adherence to the overly serious formulas of European film can only end in self-parody.
If the idea of the “Temple of I and I” is meant to be a point of solidarity against the Man, the Illuminati, or whatever the fashionable term for institutional power is these days, the tepid result is more corporate than ever.
Boston’s Institute of Contemporary Art debuted a trio of new exhibitions this Valentine’s Day. Flanking the space devoted to the museum’s newest acquisitions are “Ashes” by Steve McQueen and the 2017 James and Audrey Foster Prize winners. These latter two exhibitions explore ideas of mourning, raw scenes, and the material substance of art.
“John Wick: Chapter 2” uniquely makes connoisseurship its hallmark. Getting outfitted for the next kill is as simple as visiting the “Sommelier” (a gunsmith in the Wick universe) for a private tasting of German and Italian firearms, the local cartographer for ancient maps of Roman catacombs, and of course the tailor for something with sartorial taste and bullet-proof lining.