The Oscar winning director's three-hour Netflix film, 'Bardo,' has divided audiences and met with sharp criticism at the Venice and Telluride film festivals.
Everything about Alejandro González Iñárritu’s new film is on a big scale. The themes and ideas — involving identity, Mexican history, race, success, family and mortality — are big. The level of cinematic ambition is big. Even the complete title — “Bardo, False Chronicle of a Handful of Truths” — is a lot to wrap your head around.
But if Netflix hopes to follow the awards season playbook it set with 2018’s “Roma” — another highly autobiographical film steeped in Mexican culture and history, directed by Iñárritu’s friend and countryman Alfonso Cuarón — it’s looking like ”Bardo” will face a bumpier road to Oscar night.from Telluride, “[Iñárritu] is hardly unaware of his reputation in some circles as an arrogant showman, a filmmaker who flings the camera around with empty, pummeling virtuosity.
I think it has to do with my age [59] and the time that has passed. When your kids grow, there are challenges to try to understand the decision that I made — or any immigrant made — of leaving your country. When you leave your country, that comes with a lot of hopes and plans for the future, but inevitably also a lot of uncertainty and contradictions and paradoxes and challenges. So that’s what triggered me five years ago that I started feeling that need to make a journey inward.
Success for me is like a bowl of smoke that, once you grasp it, it disappears. It is a mirage. My father used to say to me the line [in the film], “Be careful with success. Just take a little sip and spit it out because if not, it can be poison.”Sarah Polley and Alejandro G. Iñárritu deliver wildly different movies that kick off the 2022 Telluride Film Festival.
I don’t know if [the critics] have read Jorge Luis Borges or Jorge Cortázar or Juan Rulfo, but they should read where these things come from and our imaginary tradition of combined time and space in the literature of Latin America. This, for me, is the basis of the film. Why do I not have the right to work in that tradition in the way I like to do it?
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