12-20-2022, 12:17 AM
Don't watch this trailer. It won't tell you anything about what this film is about. I'm not sure it's a film that can be described in a trailer at all.
This is the latest from Director Alejandro G. Iñárritu, who did Birdman and The Revenent, and it's like walking into his dreams. It's Mexican surrealism, a self-indulgent plunge into Mexican-American and artistic indentity, with a grandisimo dollop of politics. The story follows Silverio, a journalist and filmmaker, a thinly guised metaphor of Iñárritu, as he's processing being the first Mexican to receive some specific filmmaking award. This is intertwined with his relationships to his parents, wife, and children, as well as his celebrity and art. It's one of those 'art looks in a mirror' but this is a funhouse mirror in a Mexican carnival.
The cinematography is superb. Iñárritu is known for his one-ers and he pulls off several spectacular one-ers here as the camera follows Silverio through chaotic crowds and labyrinthian environments. The shot swirls and turns and feels so natural, until it culminates in a jaw-dropping finale shot that brings the realization that every move was orchestrated and choreographed precisely. Beyond the one-ers, there are shots that are so meticulously composed that their sheer beauty is overwhelming. If you're a filmmaker (and I know some D00Mers are) this is a must watch, just to see his technical flair. Iñárritu can move a camera like no one else. And some of the locations are pure eye candy.
The surrealism starts immediately as ridiculous cartoon ideas play out and role seamlessly into others. Much of it feel stream of consciouness as it moves back and forth through time and memories. Many are beautifully imagined and actualized, and remarkably decoded towards the end. There is a method to the madness.
There are moments of exposition that are a bit preachy, and others that drop wisdom bombs with machine gun rapidity. There was a point when I wanted to take notes.
All that being said, this is not for everyone. It's long - nearly 3 hours - and meanders about in a self absorbed way. Many will find it too artsy fartsy. I was leaning towards that opinion in the beginning but it won me over in the end.
It's meta in that it comments on itself. In one scene, a critic lambasts Silverio's latest documentary by leveling criticisms obviously aimed at Bardo (some scenes segue into what must have been that documentary). One big crowd scene falls apart to reveal that it is just a scene being filmed for the movie (perhaps that doc again). That would've been cheesy but it's more of a behind-the-scenes to show off that it wasn't cgi, but a real crowd.
The finale mcguffin got me because it's highly personal to something I experienced. It left me with a lot of psychic cud to chew on...
Wholeheartedly recommended for D00M film buffs. Not recommended for D00Mers who are offended by self righteousness bordering on pretentiousness, or anyone who can't handle the surreal (that would be anti-D00M I should think).
I kinda wish I was high when I watched this...
This is the latest from Director Alejandro G. Iñárritu, who did Birdman and The Revenent, and it's like walking into his dreams. It's Mexican surrealism, a self-indulgent plunge into Mexican-American and artistic indentity, with a grandisimo dollop of politics. The story follows Silverio, a journalist and filmmaker, a thinly guised metaphor of Iñárritu, as he's processing being the first Mexican to receive some specific filmmaking award. This is intertwined with his relationships to his parents, wife, and children, as well as his celebrity and art. It's one of those 'art looks in a mirror' but this is a funhouse mirror in a Mexican carnival.
The cinematography is superb. Iñárritu is known for his one-ers and he pulls off several spectacular one-ers here as the camera follows Silverio through chaotic crowds and labyrinthian environments. The shot swirls and turns and feels so natural, until it culminates in a jaw-dropping finale shot that brings the realization that every move was orchestrated and choreographed precisely. Beyond the one-ers, there are shots that are so meticulously composed that their sheer beauty is overwhelming. If you're a filmmaker (and I know some D00Mers are) this is a must watch, just to see his technical flair. Iñárritu can move a camera like no one else. And some of the locations are pure eye candy.
The surrealism starts immediately as ridiculous cartoon ideas play out and role seamlessly into others. Much of it feel stream of consciouness as it moves back and forth through time and memories. Many are beautifully imagined and actualized, and remarkably decoded towards the end. There is a method to the madness.
There are moments of exposition that are a bit preachy, and others that drop wisdom bombs with machine gun rapidity. There was a point when I wanted to take notes.
All that being said, this is not for everyone. It's long - nearly 3 hours - and meanders about in a self absorbed way. Many will find it too artsy fartsy. I was leaning towards that opinion in the beginning but it won me over in the end.
It's meta in that it comments on itself. In one scene, a critic lambasts Silverio's latest documentary by leveling criticisms obviously aimed at Bardo (some scenes segue into what must have been that documentary). One big crowd scene falls apart to reveal that it is just a scene being filmed for the movie (perhaps that doc again). That would've been cheesy but it's more of a behind-the-scenes to show off that it wasn't cgi, but a real crowd.
The finale mcguffin got me because it's highly personal to something I experienced. It left me with a lot of psychic cud to chew on...
Wholeheartedly recommended for D00M film buffs. Not recommended for D00Mers who are offended by self righteousness bordering on pretentiousness, or anyone who can't handle the surreal (that would be anti-D00M I should think).
I kinda wish I was high when I watched this...
Shadow boxing the apocalypse
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EVER EXCLUSIVE