Very strange to see a Moguillansky almost devoid of humor. The sense of play is still there, but the melancholy in each section is almost oppressive. It is very telling that the timeline of Pin de fartie’s production provided for Fuera de Campo begins in November 2023 with Javier Milei’s election in Argentina (also the same month when Moguillansky goes to Switzerland for an extended teaching engagement). From Switzerland to Argentina, restaging the same dynamic from the Beckett work in new variations, finding grace, finding despair, finding death. The way we move from each to the other is often ingenious, playful, and yet it is also work - it is the fruit of a trial and error, an approach to filming that relies not on pre-digested ideas but rather on a search. There are rehearsals, there are shoots, there is editing. And at each stage the material is worked and reworked. And what is the result? The beauty of the Switzerland section (Cleo Moguillansky a natural comedienne), Laura Paredes pulling miracles out of thin air, Alejo Moguillansky returning once again to his relationship with the pianist Margarita Fernández, interstitials from Inés Duacastella and Ana Roy that unites this disparate material (shot so gracefully that the fact that these shots are included as a way make the footage cut together doesn’t matter at all), Maxi Prietto singing ‘Viene Arrastrandose.’ Films are still possible, even if it’s fin de patrie. - Jhon Hernandez
