As a cinephile who has traversed the vast expanses of global cinema, I find myself utterly captivated by Lisandro Alonso’s masterful triptych, Eureka. My life experiences have exposed me to a myriad of cultures and narratives, yet none have resonated with such raw, unfiltered authenticity as this Argentinian auteur’s latest offering.
Argentine filmmaker Lisandro Alonso delves into the hardships and unjust treatment faced by indigenous communities across three different time periods and locations in the challenging, introspective, and unconventional trilogy film Eureka. Each narrative shares recurring themes of violence, grief, melancholy, and the hopelessness stemming from a perpetual cycle of despair with no apparent escape. The characters strive to find solace amidst their dismal environment that drains their willpower. Trapped in an unforgiving loop of poverty and dependency, they feel a sense of pointlessness. Eureka‘s thoughtful style and intense character development is noteworthy, but its slow tempo and extended cinematic moments might be disconcerting for viewers accustomed to fast-paced editing and neat conclusions.
Viggo Mortensen takes on the lead role as Murphy, a gunslinger embarking on a deadly quest in 1870s Mexico. Dropped off at a chaotic town, he encounters scenes of depravity and lawlessness, with gunfire echoing through the streets, and scantily-clad prostitutes mingling with unsavory patrons. The local indigenous people range from active participants to bystanders as Murphy relentlessly pursues his objective. He’s on a mission to find an influential individual, and he won’t hesitate to take down anyone who gets in his way.
In Alonso’s initial production, he captures his first tale in stark contrast, black and white, with an old-fashioned 4:3 aspect ratio reminiscent of early television broadcasts. This choice proves significant as the narrative unfolds. The grimy environment and callous disregard for life creates a solid foundation. The town appears like a fiery inferno, wide avenues offering an illusion of escape but shrouded in ambiguity for those hoping to leave. Murphy encounters an unexpected twist as he rams through adversaries, realizing that not everything one searches for is as anticipated.
Eureka Goes Modern in an Excellent Second Act
In the contemporary setting, Officer Debonna (Alaina Clifford), known as “174” by an initially hidden police dispatcher, is a Lakota peacekeeper on the Pine Ridge Reservation in South Dakota. The story unfolds as she braves harsh, freezing temperatures and an impending snowstorm. Her co-star, Sadie Lapointe, plays Sadie, her teenage daughter who aims to uplift troubled youth through a basketball league. Debonna’s patrol becomes a heartbreaking odyssey through despair. She faces apathy, intoxicated lethargy, and blatant disregard for her authority throughout her duties.
In this scenario, Alonso illustrates that even the strongest and most resilient individuals may find it challenging to preserve their mental well-being. Over time, the harsh conditions take their toll on Sadie’s emotional fortitude as she grapples with widespread imprisonment and a high rate of suicides among young people, particularly girls. Despite her best efforts, the relentless weight of responsibilities on the reservation becomes too much for her to bear. Debonna shares Sadie’s disheartened perspective, as there are not enough officers available to assist in managing these incidents.
A Third Act Falters & Requires Great Patience
The climactic scene of Eureka, which may seem somewhat disjointed from the rest of the story, unfolds in the Brazilian Amazon during the early 1970s. Adanilo Costa portrays an unnamed native who faces tribulation within his community. The global economic turmoil at that time – inflation, oil crises, and widespread joblessness – reached even the most secluded regions. Struggling to survive, the Native seeks employment as a gold miner under a ruthless supervisor (José María Yazpik), who suspects him of dishonesty. As greed and betrayal take root among the workers, they accuse him of hoarding illicit gains.
In this section of the film, Alonso seems to lose momentum in his editing approach. However, his message about the hardships faced by the natives is effectively conveyed. Extended shots of an Amazon tributary may not be crucial for viewers to grasp their desperate circumstances. On the other hand, Alonso skillfully emphasizes Debonna’s struggle in her police cruiser. There’s no one to empathize with her frustrations or offer assistance. The understated portrayal of this scene, focusing only on the protagonist’s response, is incredibly impactful.
Often Mystifying & Abstract, Eureka Is a Pensive Study of Indigenous Lives
The title of “Eureka” was rather puzzling, leaving me scratching my head about its significance until a background brief clarified the enigma. In every story, Alonso features a large heron observing events. Interestingly, “Eureka” signifies the bird’s name and its unique capacity to traverse space and time. This fascinating tidbit would have been impossible to deduce from the film alone. Indeed, it plays an integral role in tying each narrative together. As for what the heron symbolizes, this reviewer is still left guessing. Alonso employs creative liberty with mixed results when it comes to this bird’s portrayal. The lack of explanation about the heron might leave some viewers perplexed, while others may find it irrelevant altogether.
Eureka is a thoughtful journey lasting approximately 2.5 hours. Those with limited focus might struggle past the initial act. Yet, patience is highly rewarded in this piece as Alonso presents an authentic and unwavering portrayal of Indigenous life and concerns, making it worthwhile.
4L, Luxbox, Komplizen Film, Woo Films, and others collaborated to create the film titled “Eureka.” The movie’s nationwide launch commences on September 20th, with initial screenings taking place in select markets, courtesy of Film Movement.
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2024-09-22 06:03