Alonso’s films are about lone men, isolated by some combination of circumstance, choice, and temperament, and their movement through their landscapes. In La Libertad, it’s the logger in the forest (with a brief trip into a village hacked into the middle of the wilds). In Los Muertos (2004), it’s a man released from prison making his way up river to his village home and a reunion with his daughter (it could be either reconciliation or retribution, given the film’s uneasy tone). And in Fantasma (2006), the (non)actors from these two films go to see a screening of Los Muertos in a cinema so empty it’s unnerving.
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