Pin de Fartie

Absurdist, minimalist, tragicomic. Samuel Beckett’s brilliant play Endgame is approaching its seventieth anniversary, yet continues to inspire audiences worldwide. This is demonstrated by Pin de Fartie, a play on words based on the French title of the play, Fin de partie, referring to the end of a game of chess. The internationally acclaimed Argentine filmmaker Alejo Moguillansky weaves together three surprising variations on the original, accompanied by a musician and a narrator, his partner Luciana Acuña. There are also roles for their daughter Cleo and Moguillansky himself, as the son of a blind pianist. He does not call it an adaptation, but “A film about a homeland once called Cinema”. The result is playful, yet defies convention; it is free, yet by no means without commitment. At its heart are still characters who explore the (im)possibility of relating to one another. Can their existential resistance avert the inevitable end?