2022 ‘BARDO, Falsa crónica de unas cuantas verdades’ Directed by Alejandro González Iñárritu
Silverio, a renowned Mexican journalist and documentary filmmaker living in Los Angeles, who, after being named the recipient of a prestigious international award, is compelled to return to his native country, unaware that this simple trip will push him to an existential limit.
Daniel Giménez Cacho Griselda Siciliani Íker Sánchez Solano Ximena Lamadrid Luz Jiménez Luis Couturier Francisco Rubio Andrés Almeida Clementina Guadarrama Jay O. Sanders Noé Hernández Fabiola Guajardo Mar Carrera Rubén Zamora Omar Leyva Grace Shen Edison Ruiz Daniel Damuzi Alex Guevara Misha Arias De La Cantolla Jorge Gidi Jeronimo Guerra Hugo Albores Grantham Coleman Luis Gnecco Alejandro Belmonte
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Humanity and the world around us Moving relationship stories Epic history and literature death, profound, symbolism, philosophical or vision emotional, emotion, family, moving or feelings emotional, emotion, sad, drama or illness artists, biography, musician, songs or emotional journey, scientific, documentary, humanity or earth Show All…
its good, but if you were to put a gun to my head and force me to watch bardo again, id say shoot me
Venecia, el mismo festival que le dio leoncillo a Nuevo Orden, fue donde acribillaron esta película. Ya dije mucho.
Nuevamente chavos recuerden que “Separar el arte del artista” es una mamada, esta película es la prueba de ello. Bardo, Falsa crónica de unas cuantas verdades es una lluvia intensa de ideas, emociones, metáforas y pensamientos que van ligadas desde la vida de una persona que lo ve desde su edad, profesión, nacionalidad, privilegio, etc. Así como lo es cualquier búsqueda por encontrarse a sí mismo.
Muchos la verán como una cromada a si mismo, otros como un montón de escenas con metáforas a lo desgraciado. Pero a como yo lo veo, esta es la película más personal de Iñárritu, y yo a eso no le encuentro nada de pretencioso, más bien la convierte en una obra honesta y eso vale mucho.
“You inevitably turn into what people think you are,” someone opines a few hours (or years) into Alejandro González Iñárritu’s “Bardo (or False Chronicle of a Handful of Truths),” a movie so nakedly personal in spite of its epic scope that even the most benign stray comments betray the sting of self-flagellation. And yet there’s a reason why this one manages to break the skin.
By this point in the film’s oneiric non-story, it’s already clear that Silverio (Daniel Giménez Cacho) — a journalist turned documentarian who returns to Mexico a few days before he’s scheduled to receive a major industry award in his adopted home of Los Angeles — is a stand-in for the Oscar-winning auteur behind the camera,…
“La memoria carece de verdad, solo tiene coherencia emocional.”
What is identity if not the collection of our memories? What is life if not the strange journey that shapes it?
It’s fascinating how we are all victims of circumstance in a way, how perhaps we wouldn’t be the people we are if we had made one single different choice.
We are the product of what was, what is, what could have been - Alejandro González Iñárritu understands that better than most, and it was an absolute delight to embark on this journey through his alter ego’s psyche.
I laughed, I cried, I wondered, I reflected. And what is the purpose of cinema if not that?
Idk what’s up with Netflix movies and fetuses this year but I’m losing my mind
North American Premiere for Bardo. AGI introduced the film and described it in comparison to his other works as a snorkel, viewing from above, where there is still light, greys, and beauty, rather than a deep dive into the depths of the dark ocean.
To my surprise, this movie has been met with some mixed reviews. I thought for sure, after a 7 year hiatus, and after seeing this staggeringly beautiful and honest portrait of a man, it would be met with universal praise. But it seems like some people either missed the fucking point entirely, or are too absorbed in their own egos to realize what AGI has achieved. Bardo is a monumental achievement in modern filmmaking.
Fiction is…
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Honestly? Pretty good! Alejandro González Iñárritu has always been a bit of a hack director, especially in the case of his recent Hollywood follies, but here he properly wrestles with the circumstance of both his artistic aspirations and his family history. Not sure why this is the AGI movie where some critics are finally saying, "enough". It's his strongest work since Biutiful. Bardo is a shattered-ego tapestry woven out of scattered memories and grand fantasies and the realism of the political moment. Darius Khondji comfortably fills the shoes of Emmanuel Lubezki as cinematographer. Often the film achieves the feeling of a waking dream, although it struggled to consistently maintain my interest. That first shot is a doozy, and a perfect litmus test for the indulgence and serenity to come. Worth a watch.
BARDO contains a number of stunningly beautiful shots & sequences courtesy of cinematographer Darius Khondji. I get what Alejandro González Iñárritu was going for but it seriously needed to lose at least an hour in the final edit. An overlong, aimless & repetitive rumination on identity & life through metaphors, memory & imagination. I admired it (especially it’s big ideas & moments of surrealist comedy) more than I loved it but I also didn’t hate it.
Me: Mum can we have Tree of Life?
Mum: We have Tree of Life at home.
Tree of Life at home:
“ Busco aprecio en los que me desprecian”
Veeeeeeeergaaaaaaaa me cerró el hocico Iñárritu. Buen pedo no le entendieron en Venecia y se entiende we totalmente se entiende.
Un collage de ideas que concierne a un mexicano desde el extranjero y el privilegio que examina,
proclama y critica muchísimas ideas desde nuestro origen, patriotismo, mortalidad, existencialismo.
Bardo es un quimera surreal que muchos querrán descalificar por su falta de estructura, temporalidad, humildad y apego alas narrativas convencionales pero con el cerebro activo uno puede ver que es el vomito ideológico de un maniático tratando de encontrarse entre memorias e identidades y lo digo como un elogio increíble.
“Autofiction” is the death of us all—culturally speaking, socially speaking. The incurably narcissistic Iñárritu, like Octavio Paz before him, thinks he’s God’s gift to Mexico. At least Paz could write well. And at least history, to Paz, was never the simple-minded Fellini-pilled jokey fantasy Iñárritu makes it out to be here. Leave it to AGI to not only insert himself into Mexican history as if he were touched with the spirit of Lenin or Allende (or Eisenstein or Guzmán), but to criticize himself for doing so, thus letting himself off the hook due to “self-critique”, thus instantiating a beautiful cowardice perfectly grooved for U.S. sensibilities trained to project an apolitical magical realism into anything made by those folks south of the border. And Iñárritu delivers! Plus, the most unforgivable sin: it’s boring. We need to bring back epic poetry somehow lmao
Edit: this is an excellent review from Alonso Díaz de la Vega: gatopardo.com/cine/bardo-gonzalez-inarritu/
No te mames no te mames, Bardo es cine a la verga potencia. Iñarritu haz lo que quieras con tus extras pero sigue haciendo cine por favor. La peli se estuvo acabando como media hora Y SEGUIA, en cada uno lloré. Cada plano es una maldita obra de arte, ojalá le hubiera entendido. 10/10
