Reaching across multiple genres, from musical to “B-movie” horror, La Flor offers something for all cinematic tastes. But inclusivity isn’t the point, nor is it the most impressive achievement, of this masterpiece of Argentine cinema, the filming of which took place in various locations across the globe over a marathon nine years.
As well as having one of the longest run-times in mega-movie history, impressively exceeding those of Jacques Rivette’s 1971 classic, Out 1 (nearly 13 hours), and Béla Tarr’s acclaimed 1994 adaptation of László Krasznahorkai’s Satantango (just over seven), La Flor sets itself apart from its predecessors by confidently and humorously working against the expectation of a linear narrative. Instead, Llinás gives us six stories that share nothing in common other than inclusion of the same four actors.
Described by Dan Schindel as “a love letter to cinema itself”, La Flor is not only an addictively mind-bending treat for mega-movie enthusiasts, but a playful and refreshingly imaginative tribute to the labours and pleasures of cinematic storytelling.