La última película (Directed by Raya Martin and Mark Peranson)

Date: January 13, 2016

Time: 7:00pm

Location: Los Feliz 3

Address: 1822 N. Vermont Ave. Los Angeles, CA. 90027

 

Los Angeles premiere!

 

Feverishly pillaging the depths of cinema history, La última película ingeniously reconstitutes the more mythical aspects of Dennis Hopper’s infamous Hollywood disaster The Last Movie into a contemporary deconstruction of the artistic process and the vagaries of unchecked creativity. Starring Alex Ross Perry (director of Queen of Earth and Listen Up Philip) in a humorously self-reflexive role as a conceited, blindly ambitious filmmaker attempting to mount an elaborate production in the Yucatán wilderness on the eve of the Mayan Apocalypse, the film riffs lovingly on an entire lineage of cinephilic lore, and in particular on Hopper’s apocryphal persona as an acid-fried savior of his own conception in the 1971 quasi-documentary The American Dreamer. As versed in cinema’s more arcane corners as they are the material aspects of the filmmaking process itself, directors Raya Martin and Mark Peranson––commingling fact and fiction as casually as they shift between a half dozen different shooting formats––paint the end of celluloid cinema not as elegy for a bygone era, but as an invigorating reanimation of a medium too often left for dead. Join us for a post-screening reception at Public House: 1739 N. Vermont Ave. Los Angeles, CA. 90027

 

Dazzling.

Andy Wesbter, The New York Times

 

An anarchic odyssey.

Jason Anderson, Artforum

 

A jocular doomsday journey through the collapsed scaffolding of the medium itself.

Fernando F. Croce, MUBI Notebook

 

Peranson and Martin employ an astonishing range of formal tricks and fireworks to suggest that the movie is spiraling towards either a kind of artistic apotheosis or a sort of self-destruction.

Max Nelson, Film Comment

 

If La última película only concerned itself with this rending asunder of the myth of the white explorer-filmmaker illuminating dark worlds, it would at least be commendable as a corrective to a trope that remains alarmingly popular, but Martin and Peranson continually discover new avenues of thought down each of the film’s many ruptures.

Phil Coldiron, Cinema Scope

 

 

 

 

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