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Eyes Already Open: Gustavo Fontán’s El limonero real and La deuda

Chapter Five addresses a question posed by Gustavo Fontán’s film El limonero real (2016): how can a film adapted from a novel be almost universally considered “poetic”? What does such a classification tell us about generic constraints in different art forms, and about the process of adaptation itself? To do so, reference shall be made both to critical assessments of Fontán’s work and to other artists and thinkers of the poetic film, including Brakhage, Malick, and Pasolini. We can then see how Fontán’s aesthetic continues into his most mainstream film to date, La deuda (2019), within a radical political critique of contemporary neoliberalism, but one that also promotes, subtly, an aesthetic of respect for the other that informs Fontán’s (implicit) conception of intermediality. A key figure in this chapter is the Entre Ríos poet, Juan L. Ortiz (1896-1978), for both his epic, fluvial poetry and his ethics of encounter with the other.