Las aventuras de Dios
Argentina,
2000, 90 min
Shown in 2003
CREDITS
- dir
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Eliseo Subiela
- prod
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Victor Catania, Alejandro Galindo, Eliseo Subiela
- scr
-
Eliseo Subiela
- cam
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Daniel Rodríguez Maseda
- editor
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Laura Bua
- mus
-
Osvaldo Montes
- cast
-
Pasta Dioguardi, Flor Sabatella, Daniel Freire, Lorenzo Quinteros
- source
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Argentinian Consulate, 12 W 56th St., New York, NY 10019. FAX: 212-397-3523. EMAIL: subiela@fibertel.com.ar.
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COMMENTS
Eliseo Subiela in person.
OTHER
Argentine director Eliseo Subiela is a genuine poet of cinematic articulation. His body of work—redolent with philosophical curiosities, psychological explorations, political conundrums and spiritual quests—is couched in the darkly humorous, the erotic, the magical and the surreal. This year’s Festival is offering a very rare opportunity to see one of Subiela’s most unusual, experimental works, made as a group project with his students. Adventures of God stands far outside his established oeuvre; never distributed, shot on DV and much more bizarre than anything he’s ever done. With shades of Buñuel and Beckett, Fellini and the Coen Brothers, this metaphysical thriller posits the question: What if we are merely God’s dream? Initially reminiscent of his Man Facing Southeast, though the narrative is virtually stream-of-consciousness, the film introduces us to Protagonista, who emerges from oceanic unconsciousness to appear in the lobby of a luxury hotel. But a strange hotel indeed: mirrors reflect images of lost loves and the simultaneity of time, sheep are applauded, Jesus entertains with card tricks, men die from sadness and (sure to provoke controversy) a mother is cannibalized. Also present is Subiela’s ever enigmatic heroine, the beauteous raven-haired muse/amorosa/emancipator. Nothing is sacred to Subiela—religion, psychology, politics, history, motherhood—and, in the end, only love and imagination offer redemption.
—Cathleen Rountree
FACTOID #10
In 1960, Federico Fellini’s La Dolce Vita, which has inspired many women to jump into fountains, was pulled from the San Francisco International Film Festival’s program by the distributor and replaced with Roberto Rossellini’s Night over Rome.
