It is a cinema experience that in France we will only see on Netflix. In “Bardo. False chronicle of some truths” – bardo is a Buddhist term designating the intermediate state between death and rebirth – Alejandro González Iñárritu invents augmented magical realism.
He films the wandering in space and time, between reality and his subconscious, of Silverio Gama, a Mexican journalist celebrated everywhere, in the midst of an existential crisis. Consider the alter ego of the multi-Oscar-winning director of “The Revenant”, who throws his most intimate dreams, anxieties and questions onto the screen. Success, family, her stillborn child, Mexican identity and her guilt as an exile in the United States parade there in an ambitious and sometimes smoky metaphysical-introspective trip, by turns fascinating and self-satisfied, pierced with splendid visions. .
There is no doubt that Iñárritu has seen and loved Buñuel, Fellini, Terrence Malick and Gaspar Noé, of whom “Bardo” would make one think a lot if the director’s egotism and his relationship to Mexican culture and the telenovelas what his mother looked at ended up making him different. Iñárritu only aspires to that: the never-seen. Whether it involves choral narratives (“Babel”) or formal challenges (the unique sequence shot of “Birdman”).
Some find it brilliant, others, grandiloquent. He doesn’t do anything halfway. Even his youth seemed
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