The big dark themes of the opening film “White Noise” continue on the second day of the festival – with fictitious biographies once morest a real background. Bardo is Alejandro G. Iñárritu’s first Mexican film since his big screen debut, Amores Perros. After five international films, the Oscar-winner has taken on a personal story regarding a celebrated middle-aged filmmaker visiting his homeland.
Even if the protagonist Silverio is a journalist and documentarist: the balance of life at a peak, the struggle with life as an emigrant including the political identity crisis, critical attitude towards the old homeland and the male role within the family, all of this is told very honestly. Whether the Netflix streaming group will win the Golden Lion once more following Alfonso Cuarón’s “Roma” in 2018 with “Bardo” remains to be seen. The film is an opulent throwback; with a big budget and lots of extras. Partly the narrative seems spread out, then Iñárritu summarizes the scenes in the playful language of magical realism, in visually impressive wide-angle shots with exaggerated CGI effects.
Venice Film Festival: Cate Blanchett in Tár: When the Score of Life Slips Away
