Obviously, Alejandro González Iñárritu is obsessed with mental language. At least enough that there is a common thread between the links and his way of telling stories. did it in bird man and the result was dazzling, strange and uncomfortable. Now this element is much more obvious than ever in Bardo, a false chronicle of several truths, his most atypical film, now available on Netflix. Halfway between biography and personal time travel, the film is a narrative experiment. It is also an unclassified work that is supported by special points and, after all, is not always true.
Silverio (Daniel Jimenez Cacho) is a famous Hollywood figure. Renowned documentary filmmaker with over twenty years experience in Los Angeles and become a symbol of Mexican journalism beyond its borders. However, not everything is easy for this character, who dangles from one place to another, in the midst of remorse.
Much more so when he gets recognition he doesn’t think he deserves and reminds him of his place of origin. that’s when Bardo, a false chronicle of several truths this is becoming strange territory for speculation. It separates from the formal story of a man broken by his past and striving to reach another stratum. At the same time, go through an unknown place in the mind of the character. The film acts as a scene in which everything can be real and fictional at the same time. Iñárritu tells his story and what he thinks of it. What do you want from her. Which sublimates and degrades due to the discomfort of memory.
The world has turned into false images
One of the great scenes Bardo, a false chronicle of several truths It takes place in the Zócalo Mexico City. Silverio sinks into the city as if he were floating in it.. He goes through it, remembers, reconstructs in his memory. This documentary filmmaker, who only half resembles the country in which he was born, uses a moment of his complex reconstruction of the past for pain.
But not only suffering or the miracle of understanding the value of one’s identity as part of something more complex. Same this trip to Mexico is part of his life. As a fundamental element of his identity. All in the middle of a journey halfway between fabulous and rough.
González Iñárritu’s great autobiography is a risky experiment. And in the sense, and in the sense that he perceives his life as a series of mixed pieces. This is not a symbolic tribute to style. Fabelmans Steven Spielberg. No, an honest tour like Time of Armageddon James Grey. There is a lot of rudimentary practicality in memory as an artistic artifact.
And also the execution of the idea of what memory can be for an artist. Between two things Bardo, a false chronicle of several truths it’s a brilliant experiment which at some point loses its strength. Particularly when it tries to be more than a bunch of ideas that mix with each other to tell a not-so-clear core.
A message hidden among hundreds of chunks of large images
Is this about the life of González Iñárritu? The parallels are more than obvious. Silverio is a figure who triumphed outside of Mexico and is now returning to look at the country he left behind. Also the person who was. Both come together in a poignant sense that the film doesn’t quite define what tone it wants to give to the memory.
Do you want it to be a version of good and evil based on a quirky narrator? The film usually fails to do so. Could it be that Silvano is the personification of a director in search of a fragmented and idealized past? The character, despite the great game of Jimenez Cacho, it does not become a symbol at all.
So what is this movie that stretches over almost endless shots? One of the most embarrassing moments is that, despite the obvious parallels, Silverio is not a completely accurate portrayal of Iñárritu. After all, the character’s story begins with the obvious. This promising film talent had to leave his native country in order to succeed.
Unlike, Iñárritu has been successful in his native language with loves dogs and since then he has built a brilliant career. But even so, the director imagines himself as a frustrated, broken, slightly alienated artist. Silverio from Bardo, a false chronicle of several truthsHe is in search of his identity. Will you find her? The film does not make it easy and does not immediately. The message gravitates over history, at some point not manifesting itself at all.
After all, great stories are without meaning and without form.
Perhaps one of the big problems Bardo, a false chronicle of several truths, is a fact of simultaneous binding of several interpretations. Iñárritu wants to know himself, but he also wants others to know him, support him and understand him. Which ultimately turns the film into an endless web of self-references that may or may not be false.
Either touring his native Mexico became a decadent scene, or a memory of the young man he was. Silverio is the epicenter of many connotations of truth. The script cannot cover them all and ends up creating a volatile environment. with some kind of author’s work without permission.
Sketchy, haunting, obnoxious, deeply felt and undeniably powerful, Bardo, a false chronicle of several truthsIt’s a confusing story. One that is ultimately connected – though not entirely – with the idea of a biography spiced with lies for the good. An elegant moment that turns this powerful piece into two views of truth that oppose each other. So many times and in so many ways to finally build a crazy story about a man who remembers a country that no longer exists.
Source: Hiper Textual
