Beckett’s masterpiece is given a postmodern cinema slant, with characters in different locations, music and humour in a free and fanciful interpretation
Pin de Fartie review – spoonerist remix of Samuel Beckett’s Endgame finds fresh absurdity in Argentina
Beckett’s masterpiece is given a postmodern cinema slant, with characters in different locations, music and humour in a free and fanciful interpretation Remember remixes? Where you take a song and swap out parts of it...
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Beckett’s masterpiece is given a postmodern cinema slant, with characters in different locations, music and humour in a free and fanciful interpretation Remember remixes? Where you take a song and swap out parts of it with new or pre-existing material, changing it just enough to be still recognisable? Argentinean director Alejo Moguillansky applies this...
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- Beckett’s masterpiece is given a postmodern cinema slant, with characters in different locations, music and humour in a free and fanciful interpretation Remember remixes?
- Where you take a song and swap out parts of it with new or pre-existing material, changing it just enough to be still recognisable?
- Argentinean director Alejo Moguillansky applies this quintessentially postmodern aesthetic to film with a funky cinematic remix, or even series of remixes, of Samuel Beckett’s one-act play...
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This story is part of the America coverage. The original reporting source identified by the page is The Guardian. Publication date: September 1, 2026 at 02:00.
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Remember remixes? Where you take a song and swap out parts of it with new or pre-existing material, changing it just enough to be still recognisable? Argentinean director Alejo Moguillansky applies this quintessentially postmodern aesthetic to film with a funky cinematic remix, or even series of remixes, of Samuel Beckett’s one-act play Fin de Partie, AKA Endgame. The result feels a little retro and possibly a bit too pleased with its own cleverness, and the spoonerist title is juvenile. But in the end this really achieves something with both the source material and the remix that’s fresh, pleasingly provocative, and at times moving.
Beckett’s 1957 absurdist masterwork has just four characters on stage throughout, two of whom do most of the talking: cantankerous blind, disabled Hamm banters with his servant/slave Clov, while Hamm’s parents, Nagg and Nell, live in dustbins upstage and talk rather less. There’s an air of apocalyptic doom, much talk of drugs, food and, above all, time running out.
Source: The Guardian
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