Wire report
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 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
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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 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
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According to The Guardian’s source item, 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 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
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The development sits in VINI’s Culture file for readers following arts, entertainment, fashion, film, music, celebrity, and the business of culture. The original report is linked so readers can check the source account, follow later updates, and compare new coverage against the first published record. The source item is dated 2026-09-01T06:00:46+00:00.
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Primary source: Pin de Fartie review – spoonerist remix of Samuel Beckett’s Endgame finds fresh absurdity in Argentina via The Guardian. VINI cites and links the source; it does not reproduce the publisher’s full article text without rights clearance.
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- Pin de Fartie review – spoonerist remix of Samuel Beckett’s Endgame finds fresh absurdity in ArgentinaThe Guardian - 2026-09-01T06:00:46+00:00
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