rical release via New York City's Anthology Film Archives. It's one thing to ignore exposition when you have a main character who is relatively
open and sociable. When you have an extreme loner, as is the case with Alonso's "hero" Farrel, this makes connecting with the movie much more difficult. And yet I believe the co-writer (with Salvador Roselli) and director, whose brooding visage is pictured at right, manages even this challenge better than might be expected.
We see enough of Farrel's work world -- on a ship -- to know immediately that the guy has some problems. Later, we follow him as he disembarks and sets off for the hinter-
lands to visit the mountain village of his mother (whom he does not even know is alive or dead), making pit-stops for food, sleep and topless entertainment along the way. The movie's visuals are quietly enticing. Farrel's lack of desire for -- or skill at -- communica-
tion becomes a kind of challenge to the viewer, one that you will either rise to or give up. Should you stick with Liverpool (the title takes on meaning only in the last few moments), I believe that you will find yourself engrossed in the life unfurling quietly before you. In addition to his mother and an old man who knows him, Farrel comes upon someone else of surprising importance.
makers this year: Música en espera, which co-opens this month's FSLC LatinBeat festival. All the technical credits, in fact, are above par. The real question is whether or not audiences will have the ability to sit, watch and listen carefully enough to take in what Señor Alonso is offering.