An acclaimed journalist-turned-documentarian goes on an oneiric introspective journey to reconcile with the past, the present and his Mexican identity.
Pam says
Bardo. It’s a term most of us do not know, yet we all experience it. It’s that place between, a feeling of not belonging anywhere, a transitional space or limbo. Anyone who has had any change in their lives has entered bardo, but someone who has moved or has immigrated finds this to be a more impactful experience; one that alters their life. Co-writer and director Alejandro G. Iñárritu depicts a self-reflective bardo in his new film “Bardo: False Chronicle of a Handful of Truths.” Describing the full range of emotions with all its subtle nuances in humanity and cinematically is impossible for this is a journey of one man’s truth as he perceives it and we are immersed in his story — a universal one— that will leave you reeling.
The film has little structure, a key element that Iñárritu intentionally used, advising the audience to allow it to wash over you, ultimately giving you an unforgettable, visceral experience. We meet a man who we later learn is Silverio (Daniel Gimenez Cacho), riding on a train with a baggie of live fish and suddenly it morphs into what feels like a dream sequence as Silverio swims through the shallow water covering the floor of the train, attempting to recapture the fish as the bag has broken. And with the snap of a finger, we are catapulted into a delivery room where a baby has decided this world is too f***ed up to stay and literally returns to the womb. And this, my friends, is just the beginning.
Silverio, Lucia (Griselda Siciliani), Camila (Ximena Lamadrid), and Lorenzo (Iker Sanchez Solano), a typical family with Dad who works a lot; too much, perhaps. We come to this conclusion through a series of situations placed before us as he tucks his son into bed, discussing reality versus dream. Is this a dream we are witnessing? We begin to question “when” is this and then remember Inarritu’s directions to just be with the film, let it wash over you. Settling back into the scene, we ultimately understand that it’s a meta situation that comes full circle, in the most poignantly beautiful way. The hours before the revelatory ending are filled with sweet, bizarre, horrifying, and sometimes comical moments, like snapshots out of order which deliver an ethereal message. Many of these moments transition into the surreal as you enter what feels like a house of mirrors; distorting the reality and the truth within.
Suspecting what might actually be happening, we learn of Silverio’s regrets, fears, love, and difficulty with his identity as a Mexican who has successfully lead a life in the United States…but at what cost? His roots pull him back as they were never completely severed, and with this tug, sometimes violently, we experience the generational trauma and wounds which have neither been healed nor even acknowledged. And whether or not you directly identify with this experience, you walk in Silverio’s shoes to gain a sense of understanding and compassion. The curtain has been lifted, the fog has cleared, and your lens through which you see life has now changed.
There is so much to dissect in this film that a college-level class couldn’t cover it all in a semester and I will not attempt to do so in this review, but I want to delve into the primary topics and how Iñárritu so cleverly pushed the viewer off the ledge and gave us wings to fly. His vision of Mexico’s history, its politics in the past and now, filled with wars and genocide within the ever-decreasing boundaries of his country are depicted with humor, insight, and graphically horrific images. But just as we are sucker-punched with the sight of a pyramid of dead bodies, we are plunged into a vibrant disco scene filled with laughter and love. It’s a roller coaster of a ride, but it’s a ride with blinders on as we never see what lies ahead…until Inarritu wants you to. And then we can see. There are disturbing images seared into your mind as the unexpected thrills pull you along the story, yearning to find resolution. Tugging against this Inurritu’s force is useless, but giving in allows you to experience it all.
This unique vision of life and how we live it is boldly painted on the canvas before us thanks to the cinematic genius of Darius Khondji and Iñárritu’s perfectionistic guidance. Attention to detail is another key element that is delivered so skillfully that you cannot detect the painstaking endeavor. Performances from this ensemble cast — only Cacho was privy to the entire script — give the film authenticity. Lamadrid lights up the screen, filling every corner with her vibrancy and Solano’s teenage nonchalant and dismissive attitude toward his father as he yearns for time with him can be seen in his eyes. Siciliani is the spark that grounds the film as her subtleness imbues love and life. Cacho is the star, supported by this on-screen family, giving us a performance that will live on long after the film. It’s one of the most esoteric roles, but Cacho embraces it, identifies with it, and ultimately carries the story. The film only falters in its length, perhaps difficult to “kill his darlings,” but it’s not enough to deter you from seeing it all the way through.
While “Bardo” is an expansive story both emotionally and visually as it delves visually deep within our psyches, it’s also a very personal story. Everyone will identify with “Bardo” differently, but no matter your background or your experiences in life, there will be at least one aspect of Silverio’s story that will speak to you. For me, this film became a personal one; reconciling my own mortality as I reflect upon my own regrets; Did I help my aging parents enough? Did I spend enough time with my children? What stories will they tell their children? Did I make a positive impact on this world?” These questions resonate like a beating drum getting louder and closer with each moment, distorting my own life much like I witnessed the distortion of Silverio’s life in this film.
“Bardo: False Chronicle of a Handful of Truths” intertwines mortality, home, loss, and identity in a non-linear “story” with themes that are universal and personal, creating one of the most provocative and ethereal films of our time.
3.5/4
