Bardo, Fausse chronique de quelques vérités

Director Alejandro Iñarritu has reached a point in his career where he gave himself the opportunity to create a film based on his own life and his existential crisis with living between two cities. The city of Los Angeles, and Mexico City which is the one he had to "escape" in order to grow as a person, leaving his loved ones and his origins.

Actor Daniel Gimenez Cacho portrays the image of Iñárritu in a series of events that affected his life. At the same time, the story makes references to a beautiful, corrupted Mexico that the director needed to leave behind because of its cultural and political decadence. It is not a film for everyone, since not only someone who has not seen what Mexico was and has become could notice it, but someone who does not know the director's life could identify with it, given the fact that the movie is all about resemblances to those two.

But the cinematography of the movie itself makes the story worth of telling.

If you want to watch this movie expecting entertainment, you won't enjoy it. But if you are open to see and listen to what the director wants to tell about his personal life and what Mexico means to him, then you will love it.

People will say this movie is pretentious and narcissistic.. but, is it?

If you had the money and the opportunity to film an important part of your life and you want to express the love you feel for your country of origin , would you do it?

Me the writer, I would.

Is the movie perfect? It's not.

Is the movie beautifully done? It is.

Will people like it? It will depend on who's watching.

Bardo is a very interesting film. What I admire most about it is Innaritu's craftsmanship and artistic merit that he was able to foster. However, that is also my main criticism with the film. It's a bit too artsy for its own good. In other words, it is somewhat pretentious. I believe Innaritu didn't even know what he was going for thematically. I'm fine with films having a long runtime. They just have to be paced well. Of course the pacing is not good here. It could have benefited from a shorter runtime. Overall, I thought Bardo was fine, but the unfocused narrative and bad pacing is what really holds it back from being great for me.

From the very first scene of a shadow leaping into the desert air, you know that you are in for something extraordinarily fantastic. At its core it is the fantastically surreal retrospective of fictional Mexican journalist Silverio on the verge of receiving American and Mexican awards for his latest documentary. Every professional and personal interaction he has with family, friends and coworkers is eventually deconstructed as his story adds and peels away layers of humanity.

Much like Forrest Gump, Cinema Paradiso, or even the Little Prince, there is no task or goal to achieve, no plot device or macguffin to chase... it's the nostalgic tale of one man's life experience. It is impossible to convey how effortlessly each scene blends to the next with calculated disregard for the passage of time and the spacial relationships of people and objects. Iñárritu has one-upped Fellini and two-upped Terry Gilliam as every set piece, every camera composition and every performance creates amazing visuals that will stay with you long after you've left the theater.

Greetings again from the darkness. Many filmmakers mine their own lives for projects, making their work personal, revealing, and sometimes invasive. It's easy to label these works as narcissistic, and by definition, that would be accurate. However, some of the finest films from our most interesting writer-directors fall into the autobiographical (or semi-autobiographical) category. Examples include Fellini's 8 ½ (1963), Cameron Crowe's ALMOST FAMOUS, and Woody Allen's STARDUST MEMORIES. This time it's Oscar winner Alejandro Inarritu looking inward. Inarritu won his Oscars for THE REVENANT (2015), and his previous nominations include BIRDMAN (2014) and BABEL (2006), and those are in addition to his other standouts: BIUTIFUL (2010), 21 GRAMS (2003), and AMORES PERROS (2000). He's joined on this project by his BIUTIFUL and BIRDMAN co-writer, Nicolas Giacobone.

The film begins with a Terrence Malick-like dream sequence of a man leaping and flying through the desert as his shadow follows below. Next, we see a woman giving birth in a hospital as her husband lends support. Only this time, the mother and doctor agree that the baby didn't want to come out, so they put him "back in." The father is Silverio (Daniel Gimenez Cacho, (BAD EDUCATION 2004, CRONOS 1993), and it's quite obvious he is representing our real-life director, Mr. Inarritu. A few years later we are informed that Silverio, a respected journalist and documentarian, has become the first Mexican selected for a prestigious award in the United States.

Griselda Siciliani plays Lucia, Silverio's wife, and she is integral to his life, yet we witness much of his life outside of their relationship. The film struck me as a metaphysical exercise as an artist turns his lens into selfie mode. It seems as though Inarritu is coming to grips ... and sharing his philosophy with us ... that emotions drive the reality of our truth. Stated another way, truth is an illusion of emotion. Our emotion skews how we view everything. Additionally, he examines (his own) midlife crisis, and the corresponding insecurities, dreams, fantasies, and doubts. And since much of this occurs in his native Mexico, spiritual and cultural aspects enter into what we see, as does the uncertainty of time as an element.

Inarritu and cinematographer Darius Khondji capture some startling imagery, including a sequence on the dance floor, a segment where bodies drop in the street, and a bag of Axolotls being held on the train. Much of the film has a surreal look and feel, but then there are moments that are more emotionally grounded - like the terrific rooftop exchange between Silverio and his friend Luis (Francisco Rubio). In contrast to that heartfelt conversation, there are the moments when Silverio seems to be heard by others without his speaking. "Move your mouth when you speak", he is told ... yet, his thoughts are conveyed.

The use of sound is masterful, and is crucial to numerous scenes. A second watch will allow me to more fully appreciate this aspect. However, at two hours and thirty-nine minutes, Inarritu likely had many thoughts and ideas, and we find ourselves wishing things were a bit tighter on the editing side. Still, while the film may be self-indulgent and ego-driven, it's also spectacular and stunning filmmaking. There are some slyly comedic touches, and the best may when this Netflix production doesn't shy away from taking a jab at its competitor, Amazon.

If you enjoy reading my Spoiler-Free thoughts, please follow my blog to read my full review :)

"Bardo works best when it focuses on the dynamics between father, mother, and children regarding immigration and how this drastic life change impacts each member of the family nucleus. Alejandro G. Iñárritu takes advantage of all the awe-inspiring technical elements to build a story worthy of the big screen but lacks tonal consistency and narrative control.

"Historical" recreations with q.b. Surrealism only makes the runtime feel heavier, and if it wasn't for Darius Khondji's superb cinematography along with exceptional set and sound design, this film would have been in trouble.

Fortunately, there's a lot more to be enjoyed than to feel frustrated."

Rating: B.