Alejandro González Iñárritu takes up metafiction again in his new film, a Mexican production distributed by Netflix that has been shown in theaters before.
It would be a mistake to assess two classics such as ‘Alone in the face of danger’ (Fred Zinnemann, 1952) and ‘The Law of Silence’ (Elia Kazan, 1954) as two conflicting claims about witch hunts without dwelling on their cinematographic values. A similar mistake is to see in ‘Bardo’ just a delirious vanity project of its director, because it is, on top of that, a remarkable film, irregular and excessive, but remarkable. A story that is not made to be intellectualized but to get carried away by its images. Some heartbreaking, like the sequence of the fantasized meeting between the protagonist and his father, or that other one of the burial of his ill-fated baby in the sea.
A story in which what happened and what was imagined are mixed to the point of confusion, as happens with memories of any human being. A fiction headed by the always colossal Daniel Giménez Cacho and the wonderful Griselda Siciliani. The painful story of an expatriate (forget that the character is an alter ego of his director) who, despite his success, yearns for his roots, and who, paraphrasing Unamuno, could shout: Mexico hurts!
Ideal for viewers who prefer images and for fans of Iñárritu
Address: Alejandro Gonzalez Inarritu Distribution: Daniel Giménez Cacho, Griselda Siciliani, Iker Sánchez Solano, Leonardo Alonso Country: Mexico Year: 2022 Release date: 04–11-2022 Gender: Drama Script: Alejandro Gonzalez Inarritu, Nicolas Giacobone Duration: 174 minutes
Synopsis: ‘Bardo’ is a nostalgic comedy within the framework of an epic journey. A chronicle of uncertainties where the protagonist, a renowned Mexican journalist and documentary filmmaker, returns to his country facing his identity, his family affections or the absurdity of his memories, as well as the past and the new reality of his country. .