Carmen

I was going to call the romance at the heart of Carmen unconvincing, and hard to buy beyond the leads both being young and attractive, but then I'd have to go back and apply that criticism to West Side Story and who knows how many other movies, so no, it's not fair to say that. Also, I did buy the two leads as a couple a bit more as Carmen went along, and I think Paul Mescal and Melissa Barrera did the best they could with a fairly slight screenplay.

It's also almost a musical- more songs than most movies at least, and a handful of somewhat trepidatious dance numbers throughout. During some of the better moments, it felt like it was trying to go for something bigger than the production would allow, but then at other points, it felt like it was kind of afraid to be a full-on musical. A movie not feeling sure of itself is a pretty awkward thing. (They might've been sure of what they were making, but the confidence didn't come across in my eyes).

Carmen is also on the nose at points, having an agreeable message but a kind of awkward way of getting the point across at times. It is an unfulfilling movie that at least was going for something bold (I think), some of the time, so it's hard to call it worthless, despite the flaws. There are some striking shots throughout, the music's interesting, and there are two pretty good lead performances at its centre, but I don't know if all those qualities are quite enough to make it work as a whole, or feel worth recommending.

Yes once again the "history" misused .. well sort of. So no pun intended - we get Carmen - but maybe not as we imagine her. Maybe not even how she imagines herself - kidding again. Great cast - Melissa may have become too political for some (agree or disagree with her stance, I think she is on the right side of history), she is a really good actress and I hope she can continue showcasing her craft - on a bigger scale.

That said, I am not sure if this is based on a novel that deconstructs our image of Carmen ... but it is well told and you get more than a picture of someone doing everything for art ... (not the clown - sorry couldn't resist, if you didn't get that, don't worry: an inside horror movie joke) and she succeeds in a way too - well you be the judge of that of course.

Drama baby - and well edited and choreographed one as well ... good sound design too.

Carmen is a film that's difficult to pigeonhole. It skillfully combines genres, including a captivating love story, a mythical narrative, a musical extravaganza, and a modern interpretation of a timeless opera. Under the guidance of Benjamin Millepied, a dancer and choreographer, we are taken on a journey to the rugged landscapes of the U. S.-Mexico border, where passion, violence and beauty intersect and intertwine.

The central character, played by Melissa Barrera, infuses Carmen with life. After witnessing her mother's demise at the hands of a drug cartel in Mexico, Carmen manages to escape. Along her journey, she encounters Aidan (portrayed by Paul Mescal), a former Marine who has become a vigilante patrolling the border. Despite their backgrounds, they discover love amidst the chaos and uncertainty. On their quest to evade capture and stay ahead of the cartel and the authorities, they cross paths with individuals like Masilda (brought to life by Rossy de Palma), a friend of Carmen's mother who runs a dance club in Los Angeles.

Carmen doesn't adhere to Bizet's opera; it deviates from its songs and music. Nicholas Britell has crafted a score that seamlessly blends flamenco and pop influences. The dance sequences are mesmerising, showcasing Millepied's choreography and Barrera's talent as a dancer.

One aspect that stands out in the movie is its cinematography, skillfully executed by Jörg Widmer. He magnificently captures the essence of the desert, the city, and the night sky, creating visuals that possess a dreamlike mythical quality with a touch of reality. The film delves into thought-provoking themes such as immigration, identity and freedom, handling them subtly without preaching or oversimplification.

Some areas could be improved - moments of confusion in the plot, elements that stretch believability in the third act, and the characters could have been fully developed and their motivations clearer. Some of the dialogue occasionally leans towards clichés and melodrama making it challenging for the film to find its tone as it shifts between romance, action, comedy and tragedy.

Carmen ambitiously tackles a range of subjects. But it doesn't always succeed in doing so. Nevertheless, it remains a beautiful film that captivated me despite its shortcomings. However, others may not connect with it on such a level. Regardless Carmen deserves recognition for its originality and vision despite some flaws in execution and overall coherence.

I liked watching it, although I didn't fall in love with it.

So the director who choreographed Black Swan, gives us a reimagining on Carmen. It's a musical, it's a dance spectacular.its drama filled study of the border issue in the USA. It's an arthouse study of all of the aforementioned. To summarise, someone has tried to get a quart into a pint pot and ended up with a hot mess. An interesting hot mess. But a hot mess nonetheless.

You can a movie about all of the above but not all at once.

That said, the movie is very well made. There is religious symbolism in the washing of feet, allusions to PTSD, slow motion action scenes, nice cinematography, the director is not without talent and the acting by the leads is very good. It is slow but somehow never boring and worth a watch if you consider yourself a cinephile.

Carmen (2022) directed by Benjamin Millepied, retakes the original 1845 French novel plus references 1954 Carmen Jones film, and not the opera narrative. Dance forms becomes the centrepiece of an unsure love story.

It takes liberty to reinterpret the original setting to the U. S./Mexico border, supposed to be set in the Northern Mexican states. Actually it's Oz, the Australian landscape passing for Mexican desert scenery.

Although the film's intent to depict borderlands culture via Oz's landscape, there's odd cultural references like a repeated image of the Chilean Virgin Mary (Lady of Grace), in place of the Mexican Virgen de Guadalupe icon.

Carmen, helmed by Mexican actor, Melissa Barrera and Aidan helmed by Irish actor, Paul Mescal meet under certain circumstances: undocumented crossings (Carmen entering the U. S.) and paramilitary border patrolling (Aidan, retired Marine as a patrol volunteer). Their climatic interaction begins there as they flee together to "ciudad de los angeles" (L. A.).

Many scenes can suggest magical realism or surreal situations. There's some weak writing, with a contribution by Broadway's Alexander Dinelaris, but its strength is the dancing.

Millepied's background as a dancer, support the beautiful choreography that's a lot superior than the noted film, "La La Land". Unlike the prior, Carmen references the social reality of U. S. immigration policies and urban decay.

Dance scenes are breathtaking and employ Iberian and Latin American traditions from Flamenco to Tango. There's even a nod to L. A. contemporary urban dance forms like "Crumping".

The presence of Rossy de Palma, from Spanish cinematic royalty, cements a mystical creature as Carmen's aunt. She is a storyteller, recording Carmen's struggles as well as her love for Aidan.

At the end of the film, viewers navigate through muddled, slow burning action but it's worth it for the dancing and de Palma's acting. Its soundtrack has original compositions by Mexican musicians like Julieta Venegas and historic borderland ballads by Lydia Mendoza!