After filmmakers such as Alfonso Cuarón, Paolo Sorrentino, Almodovar or Spielberg – premiered fabelmens This December- has felt the need to dive into one’s own past to make it a film, Alejando G. Inaritu (Mexico City, 1963) has now done the same. Bardo, a false history of some truthsHis most personal work which culminates in the Perlak section of the San Sebastian Festival, where it has its official screening today at the Victoria Eugenia Theatre.
Four Oscar-winning Mexican directors had not made a film until seven years later Rebirth with and bard Takes viewers on a journey filled with nostalgia, surrealism and comedy in which his alter ego Silverio Gama, a renowned Mexican journalist and documentary filmmaker played by the prolific Daniel Gimenez Cacho, journeys through various emotional aspects of Iárritu’s life. We do. Staging that lacks references to Mexico, parenthood, fear, the loss of a child, violence or feeling like a foreigner, every time he travels to the United States, a country where he has long lived. Lasts for two decades.
After shaking hands with his interlocutor, an Inaritu, dressed completely in black, sits in a chair and liberally answers questions from a group of journalists, including Pawn, If the audience saw 174 minutes in the film’s screening in Venice, the filmmaker decided to cut 22 minutes for San Sebastian. “I finished the film two days before I went to Venice and since I was the editor I never had the opportunity to see it with people, friends and colleagues. Some of the visual effects put me against a wall and I immediately realized Happened that I could work on it. The inner rhythm of some scenes. The film remains intact, it’s the same. What I did was add and penetrate rapidly with a more daring synthesis ability for the same themes. Truly one And there’s the scene that wasn’t in Venice and I deleted things. Musically I did some mixes too and in the end it got diluted and I feel very satisfied because for me a movie is not finished until That it is not taken away from you. It is an uncertain process”.
Sometimes making movies is useless and dreaming is useless. nostalgia is a trap
for the director of uproarMaking this story “has been a lax and necessary process. I think it can even upset many people. Opening a warehouse sucks, making a movie sometimes sucks and dreaming sucks. Nostalgia is a trap.” I needed to put things in order at my age after being 21 outside my country. This means that all the cost of that state of mind and the sensation of displacement filled many of my reflections, my fears, judgments And I wanted to put everything in that order and share with my heart, the vulnerability, the fragility and the risk, because when you make a film like this there is a lot of risk, no dishes, my eyes and my uncertainties. Which is the essence of this film. It has been a cathartic process for my family as well.”
A deep nostalgia has arisen in Inaritu, far away from Mexico for so long. “This is the border where the film is located, that’s why it’s called the bardo, because it’s not just the geographic border where we meet. Even if you come back you can’t go back, you find myself in a situation where identity breaks down, my motherland and my family like millions of people living this hybrid culture, there is a feeling of restlessness that is very difficult to live if you have not lived it”.
The director refers to an airport scene in which an employee tells him he cannot call America home when he asks why he is traveling. “It’s a literal scene and one that has happened to me many times. I can make a movie of all the things that have happened to me at the border, where the person who denies you entry is of Latino origin. often requires dissolution to re-invent oneself”. And he adds: “We’ve experienced a million complex things and that’s not a complaint, it’s part of that disintegration-integration where a piece of paper can snatch your identity and tell you you’re anything.” No, you are bastards.”
Even if you go back to your country, there is no way to turn back. You find yourself in a situation where identity is broken
While critics from Venice, who have not been very positive about the film, added Bardo as half past eight Of Fellini, Inaritu preferred to refer to authors such as Borges or Cortázar. “There’s a lot of ignorance, especially the Anglo-Saxons. No one in Los Angeles has talked to me about Octavio Paz, nobody knows him. They talk to me about Mali… I Joe What I want to say is that we have a very powerful, ancient fantasy and literature with our own culture, since García Márquez, has influenced me greatly”.
“To use that imagination of time, of fiction, from loves dogs either 21 gramsWe have a way of looking at things. The musical reference is not from Nino Rota, as he has said, but from a Mexican band from Guajaca. Nor can I ask that everyone see all the readings of the film, because it belongs to me and my country. Fellini is one of the great film directors, but Buuel has more bard Fellini’s. And it’s okay for people to react against a movie, but to talk about it and if there’s a movie that everyone loves, it’s very suspicious. For me indifference is the biggest punishment.”
I can’t ask people to watch the full reading of the film, as it belongs to me and my country.
Most of the film is shot in wide angle, a technique that the director “liked to wrap the character in the context of the city. I didn’t want to confirm conventions, but wanted to break them. I found it interesting to go by.” . intimate to the epic and at all times the objects of Silverio, his apartment and the city that surrounded him”. bardThe Netflix production will hit theaters on November 4 and will be available on the platform from December 16.