After a cinematic hiatus spanning nearly a decade, Lisandro Alonso returns with the audacious and immersive Eureka. A maestro of arthouse cinema, Alonso's latest venture weaves together three distinctly disparate tableaus into a visual tapestry. One that explores the intersections between indigenous societies and the encroaching trappings of Western ideologies.
In the opening chapter of Eureka, Alonso plunges the audience into a monochromatic world, evoking the aesthetics of classic Westerns. This first triptych introduces us to Murphy (Viggo Mortensen), a world-weary gunslinger questing to locate his missing daughter. If this sounds like well-trodden genre footings, we'll stop you there.
For those uninitiated, Alonso's films tend to eschew generic narrative conventions in place of long-takes, lax pacing, and sparse dialogue. Eureka is no different. The deliberate choice of a tight 1.33:1 aspect ratio and black-and-white cinematography harks back to the golden age of Westerns, setting the tone for a narrative that masterfully plays with the tropes and expectations of the genre. Mortensen's postured performance adds a layer of grizzled authenticity to the character, offering viewers a compelling entry point into Alonso's exploration of Western mythos and the impact of paternalistic quests on the psyche.
As Murphy's journey unfolds, Alonso's directorial finesse becomes evident, setting the stage for a film that seamlessly transitions between timelines, locations, and cultural contexts. Truly, the transitions between each moment are better left unspoiled, if spoilers for such a film are even possible in the first place, but it's safe to say that for some, they will be worth the admission fee alone.
In Eureka, the three distinct ‘chapters' are intricately linked, sharing a common thread of world-weariness among characters and the recurrence of talismanic objects. This thematic cohesion is subtly reinforced by the film's exploration of human resilience and the evolving nature of dreams. This exploration comes to the forefront in the second and third chapters, set in modern-day South Dakota and 1970s Brazil respectively. However, it's in Eureka's middle section where Alonso's deliberate pacing and meticulous attention to detail come into their own.
This time, in full frame, the narrative focuses on Alaine (Aliana Clifford), a Native American policewoman, and her niece Sadie (Sadie Lapontie), as they navigate the challenges of a reservation marked by substance abuse and violence. In this segment, the longest of the film's triumvirate structure, Alonso adopts an almost documentarian approach. Famed for his utilisation of observational realism; as seen in La Libertad (2001) the film that put Alonso on the map as a darling of arthouse cinema, the Argentine director carefully decentres any genre-trappings that may hinder his clear intentions to capture authenticity. Instead, allowing the audience an unbiased, non-voyeuristic insight into the everyday trials, tribulations and maybe more importantly, nuances of this indigenous community.
Perhaps what elevates Eureka beyond a mere exercise in cultural exploration, is the clever decision to bookend the film's lengthier midsection with two very distinct and considered stories. Like in the opening section, Alonso leans towards more trodden genre trappings in the third and final chapter. With this chapter, Alonso crafts a thought-provoking reflection on the clash between indigenous societies and the erosive impact of Western ideologies. By juxtaposing the mythic allure of the first chapter with the harsh reality of the final tale, Alonso creates a profound commentary on the enduring consequences of historical forces. These bookends, framing the midsection of the film, accentuate the dual nature of the film's exploration – one of myth and legend, and the other an unsettling reflection of the all-too-seen violence and erosion that history often perpetuates. Eureka stands not only as a testament to Alonso's mastery but also as a compelling exploration of the intersections of culture, history, and the human experience.
EUREKA WILL BE RELEASED IN SELECTED UK CINEMAS ON 16th FEBRUARY 2024
