Watch: Bardo, falsa crónica de unas cuantas verdades 2022 123movies, Full Movie Online – An acclaimed journalist-turned-documentarian goes on an oneiric introspective journey to reconcile with the past, the present and his Mexican identity..
Plot: A renowned Mexican journalist and documentary filmmaker living in Los Angeles, 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.
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|7.5/10 Votes: 1,583|
|58% | RottenTomatoes|
|51/100 | MetaCritic|
|N/A Votes: 17 Popularity: 18.883 | TMDB|
” Only Mexicans can turn this disgraceful defeat, into mitic victory “.
A Brutal Masterpiece, A sensorial experience, watching Bardo is experience a brutal portrait of a estate of mind, is a trip around memories and dreams, in a better way to call it a recollection of memories and experiences.
Really worth checking out,
FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/bardo-spoiler-free-review-lff-2022
“Bardo works best when it focuses on the dynamics between father, mother, and children regarding immigration and how this drastic life change impacts each member of the family nucleus. Alejandro G. Iñárritu takes advantage of all the awe-inspiring technical elements to build a story worthy of the big screen but lacks tonal consistency and narrative control.
“Historical” recreations with q.b. Surrealism only makes the runtime feel heavier, and if it wasn’t for Darius Khondji’s superb cinematography along with exceptional set and sound design, this film would have been in trouble.
Fortunately, there’s a lot more to be enjoyed than to feel frustrated.”
Greetings again from the darkness. Many filmmakers mine their own lives for projects, making their work personal, revealing, and sometimes invasive. It’s easy to label these works as narcissistic, and by definition, that would be accurate. However, some of the finest films from our most interesting writer-directors fall into the autobiographical (or semi-autobiographical) category. Examples include Fellini’s 8 ½ (1963), Cameron Crowe’s ALMOST FAMOUS, and Woody Allen’s STARDUST MEMORIES. This time it’s Oscar winner Alejandro Inarritu looking inward. Inarritu won his Oscars for THE REVENANT (2015), and his previous nominations include BIRDMAN (2014) and BABEL (2006), and those are in addition to his other standouts: BIUTIFUL (2010), 21 GRAMS (2003), and AMORES PERROS (2000). He’s joined on this project by his BIUTIFUL and BIRDMAN co-writer, Nicolas Giacobone.
The film begins with a Terrence Malick-like dream sequence of a man leaping and flying through the desert as his shadow follows below. Next, we see a woman giving birth in a hospital as her husband lends support. Only this time, the mother and doctor agree that the baby didn’t want to come out, so they put him “back in.” The father is Silverio (Daniel Gimenez Cacho, (BAD EDUCATION 2004, CRONOS 1993), and it’s quite obvious he is representing our real-life director, Mr. Inarritu. A few years later we are informed that Silverio, a respected journalist and documentarian, has become the first Mexican selected for a prestigious award in the United States.
Griselda Siciliani plays Lucia, Silverio’s wife, and she is integral to his life, yet we witness much of his life outside of their relationship. The film struck me as a metaphysical exercise as an artist turns his lens into selfie mode. It seems as though Inarritu is coming to grips … and sharing his philosophy with us … that emotions drive the reality of our truth. Stated another way, truth is an illusion of emotion. Our emotion skews how we view everything. Additionally, he examines (his own) midlife crisis, and the corresponding insecurities, dreams, fantasies, and doubts. And since much of this occurs in his native Mexico, spiritual and cultural aspects enter into what we see, as does the uncertainty of time as an element.
Inarritu and cinematographer Darius Khondji capture some startling imagery, including a sequence on the dance floor, a segment where bodies drop in the street, and a bag of Axolotls being held on the train. Much of the film has a surreal look and feel, but then there are moments that are more emotionally grounded – like the terrific rooftop exchange between Silverio and his friend Luis (Francisco Rubio). In contrast to that heartfelt conversation, there are the moments when Silverio seems to be heard by others without his speaking. “Move your mouth when you speak”, he is told … yet, his thoughts are conveyed.
The use of sound is masterful, and is crucial to numerous scenes. A second watch will allow me to more fully appreciate this aspect. However, at two hours and thirty-nine minutes, Inarritu likely had many thoughts and ideas, and we find ourselves wishing things were a bit tighter on the editing side. Still, while the film may be self-indulgent and ego-driven, it’s also spectacular and stunning filmmaking. There are some slyly comedic touches, and the best may when this Netflix production doesn’t shy away from taking a jab at its competitor, Amazon.
The ending sequence of this movie is unforgettable
Daniel Giménez Cacho gives us in Bardo an infinite humanity with an undeniable mastery of art. His passive role in this case lends us with his eyes a channel to observe and respond to the various mind-boggling events he navigates, and he does so with a sincerity and apparent ease that makes it almost impossible for me not to connect with him. If the movie was just his acting, it would be a gift to all film lovers.
Bardo is about Mexico, success, immigrants, fatherhood, existentialism… but mostly i think it’s talking about loss. The loss in all its senses, not only death, but the inevitable separation from everything in reality, because time, mind and life are so. And so the film’s way of approaching human perception is supremely exciting, witty, visionary-like a lyrical, lucid illusion.
Bardo is not autobiographical, but, like any expression of art, it is a reflection of the author. In this case the conventions are dissolved to release something deeper, because when an artist exposes himself without barriers, delivering and exploring entirely the duality of self and things, that is when he can deliver something truly special. That is why the audacity with which Iñárritu exposes himself, when he could make any complacent film, is admirable.
The sincerity is so apparent that it can even give some aversion to some, because seeing someone so vulnerable can be very uncomfortable and thus create distance between us if we are not willing to empathize. But if we open up to these emotions, without judgments, they can also provide us with a sublime connection with all that is infinite, as well as attaching us to the essence of the collective experience of being human.
Iñárritu plunges on a deep introspective adventure without thinking twice because he knows the value of making art is through sharing an intimate perspective of the world. In this sense, any form of art, in its essence, can be self-therapy, and you feel Iñárritu in this film contending to invoke the existential questions of life.
The ending sequence of this movie is unforgettable.
Original Language es
Runtime 2 hr 39 min (159 min), 2 hr 41 min (161 min) (theatrical)
Genre Comedy, Drama
Director Alejandro G. Iñárritu
Writer Alejandro G. Iñárritu, Nicolás Giacobone
Actors Daniel Giménez Cacho, Griselda Siciliani, Ximena Lamadrid
Awards 1 win & 2 nominations
Production Company N/A
Sound Mix Dolby Digital, Dolby Atmos
Aspect Ratio 2.39 : 1
Camera Arri Alexa 65, Panavision 65 Vintage and Tribe7 Blackwing7 Lenses
Laboratory Harbor Picture Company, Los Angeles (CA), USA (color) (digital intermediate)
Film Length N/A
Negative Format Codex
Cinematographic Process ARRIRAW (6.5K) (source format), Digital Intermediate (4K) (master format)
Printed Film Format 35 mm, DCP Digital Cinema Package, Video (UHD)