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“Our world is based on storytelling”

After opening the event in 2014 with birdman, Alejandro G. Iñárritu returns with a feature film in competition at the Venice Film Festival. Two Oscars later (he was the third director in history, after John …

After opening the event in 2014 with birdman, Alejandro G. Iñárritu returns with a feature film in competition at the Venice Film Festival. Two Oscars later (he was the third director in history, after John Ford And Joseph L. Mankiewicz win the statuette for best director for two consecutive years, for the aforesaid birdman And The ghost) the Mexican director returns to the Lido with Bardo: Falsa Crónica de Unas Cuantas Verdadesa river film with a very personal character produced by Netflix. The protagonist of the story, Silverio (interpreted by Daniel Gimenez Cacho), is a Mexican journalist living in Los Angeles. When he receives a prestigious international award, he decides to return to visit Mexico, unaware that the trip will test him physically and, above all, emotionally.

Bardo’s story is very personal to me Iñárritu said at the film’s press conference – but I would never dream of writing and directing an autobiography. It would be deadly boring. The term I prefer to use to think of Bard it is “auto-fiction”. According to the director,We live in a world where everything is told. I realized that every human being on the planet interprets in their own way the events they experience and witness. It turns reality into fiction. Because of this I am convinced that there is no truth in personal memory and that it is our duty to analyze our memories, thoughts and dreams as best we can. That’s what I tried to do with this film.

Photo: TIZIANA FABI / AFP via Getty Images

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The Bardo of the title refers to the limbo of the Buddhist tradition in which people wait to reincarnate. “I liked the idea of an individual suspended between one dimension and another – continued the director – in the film, this dimension of transition represents for me the place where our dreams and our memories die when we ask ourselves existential questions about our past”. This spiritual dimension of the project is staged by a series of dream sequences through which the protagonist tries to make peace with the ghosts of his past, which Iñárritu directs with incredible mastery, thanks to long sequence shots and dreamy scenes that represent well the inner confusion of Silverio e they give the film a strongly dreamlike aura. All without giving up a rich dose of irony.

This return to the sources also allows the director to tackle the painful question of immigration between Mexico and the United States, a human and social drama that has affected his country for decades. “I feel like a lucky immigrant – admitted Iñárritu – ho had my difficulties, but I certainly cannot compare my experience to that of hundreds of people forced to leave their country of origin at the risk of their lives. Witnessing what is happening on the border between the two countries between which I am divided is a great pain for me”. Today, the day of the Venetian premiere of Bardo, falls on the twenty-sixth anniversary of the departure of the director and his wife from Mexico to the United States. “I would never complain about the success I’ve had, but like all things, success also has its price. When you reach a certain level in the world of cinema, people seem to demand more and more of you. And making movies is a physical and mental activity that takes up all your time and energy. The film also reflects on this: now at sixty, aware that the road ahead of me is shorter than the one I have traveled before, the time has come to take back my life and reprioritize mine too. sphere” he added.

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Photo: Alessandra Benedetti – Corbis / Corbis via Getty Images

By telling the story of a journalist, in Bard there is also a lot of cinema and love for the seventh art: indeed, the references to the great directors of the past are numerous, starting with Federico Fellini. “I don’t think there’s a director in the world who hasn’t been influenced by directors like Fellini, to name just one. These are the personalities – concluded the director – who taught me and thousands of fans around the world the magic of cinema, how beautiful it is to walk into a movie theater and feel safe like in your mother’s womb, to ‘witness the miracle of the seventh art, the only one capable of perfectly marrying space and time”.

HERE ALL THE ARTICLES, INTERVIEWS AND REVIEWS OF VENICE 79

Picture: Netflix

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