Lisandro Alonso revisits his old friend, Misael 25 years later in yet another spellbinding experience.
Misael Saavedra, the protagonist of Lisandro Alonso’s 2001 debut feature film, La Libertad (Freedom) continues his journey as a woodcutter in Alonso’s new film, La Libertad Doble (Double Freedom). 25 years later and things have not changed much. Misael continues to cut wood for his employer, live in his same man-made shack in the woods, and seemingly cook out of the same pot for lunch. Similarly, the same entrancing nature of Alonso’s filmmaking continues, capturing the surroundings of the swaying leaves of trees and grass amidst Misael’s daily grind. The long takes continue, lulling us into a hypnotic state through a man performing his labor heightened with impeccable sounds of nature, birds, and winds, but also questioning the nature of the film’s title, freedom.
But not all is exactly the same. 25 years later and Misael is disrupted from his daily life, where his sister, Micaela, is forced to evacuate a psychiatric hospital due to lack of government funds, impeding each other’s lives. She joins him as he continues his day, where the two lives are now at stake, both confronting the new challenges of life. Subtle in his storytelling with minimal dialogue, but dense through its imagery and abstraction, Alonso returns to his roots as he captures the peripheral effects of time onto Misael’s life.
Presented at this year’s Director’s Fortnight for his fourth time here after presenting Los Muertos (2004), Fantasma (2006), and Liverpool (2008), I had the privilege to talk with Alonso to discuss his newest film.
We shot with a friends and family crew. We asked everyone to exchange ideas of what should and shouldn’t shoot.
Film Fest Report: Since your last two films, Jauja (2014) and Eureka (2023) were big in scope and production, what made you want to revisit your debut film, La Libertad (2001)?
Lisandro Alonso: I needed to work with Misael with the same struggle that I started shooting films. With less weight on my back, less coproducers, speaking my own language and follow the same approach as I started getting out of university without having permissions from people I didn’t really know. So, it was great to revisit that kind of filmmaking.
Film Fest Report: Yeah, the limitations of shooting 35mm on 400ft rolls. How was the shooting experience this time around?
Lisandro Alonso: We shot with a friends and family crew. We asked everyone to exchange ideas of what should and shouldn’t shoot. Even if it was uncomfortable with the logistics because we needed to buy the film in Los Angeles, and bring the film to Argentina, then ship the film to London to develop. It was kind of a pain of an ass, but it was good to have that experience. Shooting on 35mm, it was important for me on how I chose my own ideas on what I needed to shoot and what I didn’t need to shoot.
Film Fest Report: How was reconstructing Misael’s home in the woods and the wonderful dog performance?
Lisandro Alonso: He was the set decorator! We chose the place where we needed to set the house and he built it. I brought the dog to him to get along and they shared the home for 3 weeks or so before shooting so that they can be comfortable during the shoot. That’s because he doesn’t live there anymore, he lives in a town 800 kilometers from where we shot.
Film Fest Report: The sequel or continuation concept is jarring to me, specifically in the opening where we see Misael. It questioned my concept of time seeing him again, but much older doing the same thing.
Lisandro Alonso: Not for him, but little by little it does. You discover that as the film goes along.
Film Fest Report: Which you introduced Micaela, his sister. Was her storyline based on real events?
Lisandro Alonso: No, it was based on my experience. Micaela (Saavedra) is an actress from Chile. They are not relatives even though they have the same last name which can be confusing even if people know or don’t know her.
Film Fest Report: So, the narrative is partially inspired by your life?
Lisandro Alonso: Yeah, the part with Micaela because I had a similar experience with a relative. I put my life in Misael’s character to mix my experience with his way of life, especially nowadays in Argentina where the government is closing these hospitals for people with these conditions. It’s a bad coincidence but it’s happening for real.
Film Fest Report: Can you talk about the use of objects and symbolism?
Lisandro Alonso: I think I can to talk through objects and say much more than using words. For Micaela’s story, I don’t know what it means for you, it can mean different for everyone.
Film Fest Report: I especially like how the term, “freedom”, is still broadly being explored, through both Misael and Micaela’s life. Are they both ever free?
Lisandro Alonso: Is she free to do what? Everybody uses their freedom in different ways. Well, it’s an amazing word. I don’t know the use of that word nowadays. It’s very complex.
Our team is on site for the 79th Cannes Film Festival, from May 12 to 23, 2026.
