Sorry to return to this subject a little late. I think that in both
LA LIBERTAD and LOS MUERTOS the end credits work to contextualize
his stories--in a dialectical way. I'm very heartened to hear
(through Gabe's post) that Alonso is trying to *date* his films, and
that he's very conscious about the dichotomy between city and
country. Because to me the ultimate end of Alonso's work seems to
be to say "this is how we live now" (or "this is one way in which
we're living now") and if he shows us the country, he reminds us
just a bit of the city. He pairs sloth with speed, leisure with
labor, all these things--and the music over the stark credits is
part of that strategy.

That said, I can understand Fred Veith's concerns, and believe me, I
appreciate that the "overwhelming," in-your-face harshness that the
music marks comes in a discrete contrast and does not mark the whole
film, thus making it needlessly "provocative."

Ruy, to me THE BROWN BUNNY is peripheral to the new aesthetic I'm
convinced exists, but now that you mention it I can see the
similarities. Haven't had the chance to see SHARA, and I will
hopefully see L'INTRUS at our local Rendez-vous with French Cinema
next month.

--Zach