There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse

Nicolás Zukerfeld, Argentina

DEVIKA GIRISH

The films of Nicolás Zukerfeld pit images against words, staging wily games of onscreen meaning-making. Literary miscellanea often spur the ambulatory narratives of the Argentine director’s works: a mysterious letter opens into two Rashomon-esque views of a street encounter in the short La distancia entre las cosas (2008); annotated articles and battered books punctuate the post-breakup meanderings of the characters in the feature-length Winter Comes After Autumn (2016), co-directed by Zukerfeld and his frequent collaborator Malena Solarz; and a page number scribbled on a photocopy brings together a community of cinephiles in the duo’s short, Let Us Now Praise Movies (2017). At a certain point in each film, these incidental connections turn into contests: a voice reads or narrates text over tenuously related visuals, the two mediums wrestling for our…

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Cinema Scope (Digital) - 1 Issue, Issue 85 - Winter 2021

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