Loner sailor Farrel takes shore leave when his gigantic ship docks in Tierra del Fuego, Argentina, and sets off to look for his mom. He catches a ride to his family’s town, drinking heavily, passes out in a shed and is carried to the family home, where his dad berates him. Mom is alive but far gone, doesn’t recognize him. He gives a younger girl (Scope says this is his abandoned daughter, not a little sister like I’d thought) some money and a souvenir trinket, then “I’m off,” but the movie stays with the girl. Minor evolution from the laboring guy in La Libertad to the journeying (and daughter-seeking) guy in Los Muertos, but it barely can predict the new textures of the (journeying, daughter-seeking) Jauja (and I haven’t caught up with the movie theater-set Fantasma).

Alonso in Cinema Scope 36:

Liverpool is the result of throwing the ingredients of Fantasma into La Libertad and Los Muertos … I think that simply filming someone is the best way to demonstrate what I think about the human being – about his lack of communication, his isolation, and his incomprehension about himself and the world … I’m very interested in describing characters’ environments. I think that these environments may even be more important than the characters themselves.