Alejandro González Iárritu poses for a portrait to promote “Bardo, False Chronicle of a Handful of Truths” on Tuesday, October 25, 2022, in New York. Alejandro G. Iárritu was standing on the Oscars stage for the best director award in 2016 for the second time in two years. I can’t believe this is happening, he exclaimed.
One in a million
With Iárritu’s back-to-back victories for “Birdman” and “The Revenant,” he joined John Ford and Joseph L. Mankiewicz as the only directors to have done so since 1950. The movie industry may have reached its height at that point. Iárritu then vanished, at least from Hollywood motion pictures. He needed to deal with various issues related to himself, his art, his family, and his country. After reflecting for six years, he would return to Mexico to shoot his first feature since his 2000 debut, “Amores Perros.”
Iárritu recently told the media, “I needed to find a little bit of calm and order in things that were emerging in me emotionally. “The process I underwent led to the decision to shoot in Mexico. It wasn’t the intended location.
“Bardo, False Chronicle of a Handful of Truths,” the resulting movie, is a surreal journey into the psyche of journalist and documentary filmmaker Silverio (Daniel Giménez Cacho), who escaped Mexico City with his family some 20 years ago and found success in Los Angeles. He struggles to formulate a statement to receive a huge honor in his adopted country. Still, He is speechless by the pressure of everything, from Mexico’s history to his worries about his art.
The image depicts a large, comical dreamscape of feeling, identity, family, and mythmaking. The phrase “bardo” has many meanings, including a Spanish bardo and a Buddhist limbo between death and rebirth. The movie has a Friday limited release in theatres before it premieres on Netflix on December 16.
He declared, “This is a story without a story. It’s a construction that is very dissimilar to anything I have ever done.
The story of Silverio has numerous similarities to Iárritu’s life. Along with leaving Mexico, he achieved great success in Los Angeles. A former coworker of Silverio’s who remained in Mexico criticizes his life and profession in the movie and mocks the arrogance of artists. In one of several intricate passages in which you can see the director analyzing himself, it almost seems that Iárritu is writing his critical assessment of himself.
He stated, “I incorporated some thoughts I had about myself. And I can be tougher on myself than anyone else. more severe. I am aware of popular opinion. Additionally, as Silverio’s wife, Lucia, observes to him in the movie, “Sometimes we become what we believe others to think of us.
It was a lighthearted meta-exercise, but Iárritu wants people to recognize “Bardo” as fiction. It is necessary. He views autobiographies as nothing but lies and contradictions.
He remarked that they make claims about truth and facts, but those things don’t exist. “Fiction is something that shows what reality is hiding and helps us get to a higher truth,”
Iárritu likes to claim that he created “Bardo” while staring into the depths of himself in search of an “infinite, chaotic, contradictory, and terrible” form of reality or truth.
In a way, the cast members’ eyes were likewise closed. Before participating, they were not allowed to read the script; instead, they participated in lengthy rehearsals that began six months before the shoot. When the cameras started rolling, they were already so comfortable in their roles and with their cast mates that they could be.
This method helped Ximena Lamadrid, who plays Silverio’s grown daughter Camila, to stop dwelling on the overarching dream structure.
Lamadrid remarked, “I genuinely felt, and I still feel watching it, that my character, our characters, are founded in fact. I wasn’t thinking, well, we’re part of this great dream or this Silverio’s conscience.”
While her younger brother Lorenzo (Ker Sánchez Solano) disputes his father’s romanticism toward Mexico and informs him that he feels more at home in the United States, her character thinks about returning to Mexico.
“Many lovely things came out when we started practicing and connecting. And those were handy tools to have,” Solano said of the shooting. “Some precise situations that the characters experienced genuinely happened in our lives. What a bizarre coincidence that was.
Many primary characters connected with and were impacted by many threads and topics. Cacho is greatly affected by a scenario in which Silverio speaks with his deceased father. Though he had lost his father more than ten years earlier, up until that point, he had not given him any thought.
Cacho recalled, “As we were shooting, my father’s presence just appeared.” “I just forgot about him when he passed away. I’ve been having lovely conversations with him ever since that day until now. For me, this was incredibly special.
This past fall, “Bardo” had its international premiere in competition at the Venice Film Festival. It was Iárritu’s first time watching it in a large crowd. Numerous evaluations based on the official festival cut were written after thousands of people saw it. Iárritu, however, took the risky choice to go back and re-edit the movie before it was released theatrically and on Netflix at that very time while 2,000 people were watching it.
Pain is transient, but the movie is eternal, according to Iárritu. I was aware that I was addressing a circumstance rather than a problem.
The final product, available on Netflix and in theatres, is 22 minutes shorter, with some sequences wholly deleted, others condensed or changed, and a tighter emphasis focused on Silverio’s family, who are torn between two cultures and two identities. Whether it receives Oscar recognition or not, he is content with it.
It will be intriguing to see if this movie can genuinely move people deeply. However, there isn’t anything we can do, Iárritu remarked. “I have a buddy who uses the phrase ‘low expectations, high serenity,’ and I like it. We are navigating this in that way.