Minotaur

// Presented as part of June's Best Undistributed Series //

Interview with Nicolás Pereda

Exclusive Essay:  Minotauro: Dreams, Hopes, and Everyday Life in the Films of Nicolás Pereda

Spotlight on Minotaur

 


 

Nicolás Pereda / Mexico-Canada, 2015 / New York, Toronto / 53'

 

Two young men and a young women occupy a flat in Mexico City.  They spend their days reading alone, reading aloud, and sleeping.  From time to time, a maid arrives to tidy their quarters.  Time and even space cease to exist; there is only the present somnambulant moment, drifting between sleep and wakefulness.

 

A wraithlike fantasy capturing the languorous texture of privilege, Minotaur studies both the nearly-obsolete ritual of cloistering oneself from the world to read, and the social status that would make such an activity possible.  Nicolás Pereda's seventh film premiered at both the New York Film Festival and Toronto.

 

 

"Minotaur is the kind of film we're able to see at such a big festival as Toronto only because adventurous programming strands like Wavelengths have the patience to present their unique tempo within the hectic atmosphere of the surrounding festivities.  And its tempo is indeed unique, evoked through the opiated, satin haze of its digital photography... You feel echoes of Last Year in Marienbad and also perhaps Marguerite Duras's India Song, filmed in the lo-fi sleekness found in the films of Matías Piñeiro, where the gloss of the video images is a sheen of mystery, the screen itself strangely slippery... Within this nestled, aborted story— love story, perhaps, story of a friendship, perhaps, story of privileged unemployment, perhaps— there's a casual, sidelong indictment of an indolent bohemian class, but a critique mostly subsumed by the creeping atmosphere of an interior apocalypse, a malady (recalling Tsai Ming-liang) of ennui precise only in its victims.  It simple but enchanting film, its 55-some minutes are exactly what it needs to stretch a kind of three-page fable into cinematic languor"

- Daniel Kasman, Toronto ReviewMubi Notebook