#alejandro g inarritu

[finemaleactors]

Forrest Goodluck, Domhnall Gleeson and Leonardo DiCaprio

[thebestestwinner]

The top two vote-getters will move on to the next round!

[hamoimproviso]

Something of Fellini and Allen's Stardust Memories about this exploration of a film-makers inner workings. Clearly heartfelt but way too long, extremely self indulgent. The best reason for making a film like this is to assume your experiences are universal and that you have something to say to people who have been through the same. Here the death of a child is movingly explored, as is the experience of being part of two cultures, and maybe some stuff about the relationships with our parents. Beyond the loss of a child, none of the rest is especially compelling or sheds much light and you have to have a high tolerance for whimsy which breaks in at various unexpected points. It was powerful in places and individual scenes were gorgeous or moving, but as a whole it felt muddled and self absorbed. He's earned the right to make such a film but I'm not sure the audience will pay the price to watch it.

[randomrichards]

BARDO: FALSE CHRONICLES OF A HANDFUL OF TRUTHS

Surreal avatar

For Post-Awards director

Magic realist film

[filmbook21]

[elegantzombielite]

"There is no human being who, as a result of desiring to build a better life, should be named or declared illegal."

Alejandro G. Inarritu, film director, producer, screenwriter, and composer (b. 15th August 1963)

[rookie-critic]

Bardo, False Chronicle of a Handful of Truths (2022, dir. Alejadro González Iñárritu) - review by Rookie-Critic

I am a huge fan of Alejandro González Iñárritu. I've liked every film I've seen of his. Babel was great, Biutiful was, well, beautiful, and Birdman was absolutely breathtaking. So I went into Bardo with fairly high expectations. I had heard that it was incredibly surreal, but so was Birdman, so I wasn't really surprised. However, to call Bardo just "surreal" is almost underselling the nature of it. If you're a viewer who really enjoys when movies are clear, concise, and lay their stories out plainly and linearly, then Bardo is most likely not for you. It is a tough watch, both because of how bizarre it is and because of its length. Generally I wouldn't necessarily refer to a two and a half hour film as overlong (in the post Avengers: Endgame world, how could you?), but I definitely think Bardo is, and it's indicative of probably the film's biggest fault: it's exceedingly boring. It really pains me to say that, because there are a lot of beautiful, amazing things about this film that I'll talk about a little later on, and I don't want to diminish those things by boiling them down with one of the most basic complaints imaginable, but it is. It's boring. Almost every single scene in the entire 159 minute span of this film overstays its welcome, even the ones that are amazing are lessened with just too much. I don't even know that I really want any particular sequence to be removed, because they're all so crucial to the film's message, but they can all be re-edited, touched up in some way that removes a lot of the fluff (and there's a lot of fluff).

Iñárritu hits an absolute home run with every sequence; he hits the ball out of the park, runs the bases, then runs them again, and then runs them again, and eventually your eyes glaze over as you just watch this happen scene after scene after scene, so much so that when you eventually clock back in and start paying attention again, you're bewildered by the fact that, sometimes, he's still running the bases on a home run he hit well over 10 minutes ago. I had to consistently run the film back more times than I even cared to count because I just kept tuning out. A shot would linger for, I'm not joking, minutes longer than it needed to, and I would miss the first few sentences or the next important moment because my brain had just flown away with my attention in tow. It is so frustrating because, again, when the movie does hit those home runs, it is a remarkable film.

Bardo has so many themes and topics that it seeks to tackle (as Iñárritu's films often do), but I think the one that I kept coming back to, and what I personally believe is the focal point of the film's efforts, is the double-edged nature of being Mexican in the modern world. How does one take pride in their Mexican heritage and culture, one that is unarguably brimming with life and food and dance and an overwhelming brightness and love for all things, while also acknowledging the crumbling nature of the country itself? How do you reconcile that disconnect between so badly wanting to live in this country that, in your heart, is your home, is your heartland, and understanding that things will be better for you, for your family, for your children, to leave it because of its increasing failure to represent the nature of it's culture and be a beacon for its people? On the flip side of that, how do you then reconcile your love for this new land, this new country, that has provided you opportunity and relative safety and this better life, when this country is also, in its own way, crumbling, and crumbling in a way that doesn't accept you or your culture? At that point, where does your culture even belong? Where is its home? These central questions drive Bardo in such a forceful, unabashed way that I absolutely fell in love with. It's tragic, it's sorrowfully funny, it's not easy, and the answers aren't there in a complete way, but Iñárritu seeks to challenge the notion that these things can't live with each other, and I think he nails it, absolutely crushes it, but then he oversells his point. It makes the atmosphere around the viewing experience of Bardo one of patience, of constantly hitting the "up" button on your remote to bring up the timeline so you can check how much longer the film has left to go, and that breaks my heart, because in the forest that is Bardo, False Chronicle of a Handful of Truths, is another Iñárritu masterpiece, it's just locked tightly in a shell of a film that is lesser than the sum of its individual parts.

Score: 7/10

Currently streaming on Netflix.

[harrison-abbott]

The movie was shot entirely with natural light. And, because of the cold, harsh conditions of the landscape, this left fairly limited time in which to shoot. Thus, the film was shot over nine months.

The bison liver that Leo eats is actually real.

The actual Hugh Glass didn’t have a son. He only became known as a character after the bear incident – of which his companions left him for dead.

Indeed, the film is based only partially on Glass. After Glass’ team left him to die, he made his way back across 200 miles where he finally found help. Because a long journey of suffering wouldn’t make an interesting film, the story was mixed up with other characters.

Alejandro G Inarritu wanted to make this movie earlier, but the production was slowed down because Leo was starring in The Wolf of Wall Street (2013). And so Alejandro made Birdman (2014) in between the free time.

It’s Leo’s film with the least amount of dialogue.

And he won 32 awards for it across a range of institutions.

[vahsaw]

I updated my list of movies I watched and loved in alphabetical order:

12 Years a Slave (2012) DIR. STEVE MCQUEEN

45 Years (2015) DIR. ANDREW HAIGH

About Dry Grasses (2024) DIR. NURI BILGE CEYLAN

Aftersun (2022) DIR. CHARLOTTE WELLS

Alcarras (2023) DIR. CARLA SIMON

Annihilation (2018) DIR. ALEX GARLAND

Anatomy of a Fall (2023) DIR. JUSTINE TRIET

Arrival (2016) DIR. DENIS VILLENEUVE

A Quiet Place (2018) DIR. JOHN KRASINKI

Black Swan (2010) DIR. DARREN ARONOFSKY

Blue is the warmest color (2013) DIR. ABDELLATIF KECHICHE

Blue Valentine (2010) DIR. DEREK CIANFRANCE

Brokeback Mountain (2005) DIR. ANG LEE

Burning (2018) DIR. LEE CHANG-DONG

Carol (2015) DIR. TODD HAYNES

Close (2023) DIR. LUKAS DHONT

Dallas Buyers Club (2013) DIR. JEAN-MARC VALLÉE

De Rouille et d’os (2012) DIR. JACQUES AUDIARD

Drive (2011) DIR. NICOLAS WINDING REFN

Fire of Love (2022) DIR. SARA DOSA

Get Out (2017) DIR. JORDAN PEELE

God’s Own Country (2017) DIR. FRANCIS LEE

Gone Girl (2014) DIR. DAVID FINCHER

Gravity (2013) DIR. ALFONSO CUARÓN

Great Freedom (2022) DIR. SEBASTIAN MEISE

Girl (2019) DIR. LUKAS DHONT

Her (2013) DIR. SPIKE JONZE

Hereditary (2018) DIR. ARI ASTER

Ida (2014) DIR. PAWEL PAWLIKOWSKI

Io Capitano (2024) DIR. MATTEO GARRONE

If Beale Street Could Talk (2018) DIR. BARRY JENKINS

Incendies (2011) DIR. DENIS VILLENEUVE

Inception (2010) DIR. CHRISTOPHER NOLAN

Interstellar (2014) DIR. CHRISTOPHER NOLAN

Irréversible (2002) DIR. GASPAR NOÉ

It follows (2015) DIR. DAVID ROBERT MITCHELL

Jagten (The Hunt) (2012) DIR. THOMAS VINTERBERG

Joyland (2023) DIR. SAIM SADIQ

Kill Bill (vol. 1 & 2) (2003) DIR. QUENTIN TARANTINO

Leave No Trace (2018) DIR. DEBRA GRANIK

Loveless (2017) DIR. ANDREY ZVYAGINTSEV

Manchester by the Sea (2016) DIR. KENNERTH LONERGAN

Melancholia (2011) DIR. LARS VON TRIER

Midsommar (2019) DIR. ARI ASTER

Mommy (2014) DIR. XAVIER DOLAN

Moonlight (2016) DIR. BARRY JENKINS

Nightcrawler (2014) DIR. DAN GILROY

Nomadland (2020) DIR. CHLOE ZHAO

Oslo, August 31st (2012) DIR. JOACHIM TRIER

Parasite (2019) DIR. BONG JOON HO

Past Lives (2023) DIR. CELINE SONG

Poor Things (2023) DIR. YORGOS LANTHIMOS

Portrait of a Lady on Fire (2019) DIR. CELINE SCIAMMA

Rabbit Hole (2010) DIR. JOHN CAMERON MITCHELL

Respire (2014) DIR. MÉLANIE LAURENT

Revoir Paris (2023) DIR. ALICE WINOCOUR

Riceboy Sleeps (2023) DIR. ANTHONY SHIM

Saint Maud (2021) DIR. ROSE GLASS

Shame (2011) DIR. STEVE MCQUEEN

Short Term 12 (2013) DIR. DESTIN DANIEL CRETTON

Take Shelter (2011) DIR. JEFF NICHOLS

TAR (2022) DIR. TODD FIELD

The Babadook (2014) DIR. JENNIFER KENT

The Banshees of Inisherin (2022) DIR. MARTIN MCDONAGH

The Beasts (2023) DIR. RODRIGO SOROGOYEN

The Broken Circle Breakdown (2012) DIR. FELIX VAN GROENINGEN

The Eight Mountains (2023) DIR. FELIX VAN GROENINGEN & CHARLOTTE VANDERMEERSCH

The Farewell (2019) DIR. LULU WANG

The Father (2021) DIR. FLORIAN ZELLER

The Handmaiden (2016) DIR. PARK CHAN-WOOK

The Killing of a Sacred Deer (2017) DIR. YORGOS LANTHIMOS

The Lighthouse (2019) DIR. ROBERT EGGERS

The Lost Daughter (2021) DIR. MAGGIE GYLLENHAAL

The Matrix (1999) DIR. ANDY & LANA WACHOWSKI

The Revenant (2015) DIR. ALEJANDRO G. INARRITU

The Tale (2018) DIR. JENNIFER FOX

The Way He Looks (2014) DIR. DANIEL RIBEIRO

The Worst Person in the World (2022) DIR. JOACHIM TRIER

To Leslie (2022) DIR. MICHAEL MORRIS

Under the skin (2013) DIR. JONATHAN GLAZER

Wadaean Julia (2023) DIR. MOHAMED KORDOFANI

Whiplash (2014) DIR. DAMIEN CHAZELLE

[pop-sesivo]

"Ambitious, over-the-top, pretentious, autobiographical: All of this can be said of Alejandro G. Inarritu's first film to be directed in Mexico since Amores Perros in 2020"

My review of Bardo, False Chronicle of a Handful of Truths (2022) for Common Sense Media.

[finemaleactors]

Forrest Goodluck and Leonardo DiCaprio

[film-book]

‎

Film Review: BARDO: FALSE CHRONICLE OF A HANDFUL OF TRUTHS (2022): Alejandro G. Iñárritu Aptly Brings to Life a Deep Story of a Man in a Crisis https://film-book.com/film-review-bardo-false-chronicle-of-a-handful-of-truths-2022-alejandro-g-inarritu-aptly-brings-to-life-a-deep-story-of-a-man-in-a-crisis/?feed_id=121054&_unique_id=639fcdc832c4c

[777wave]

Directed by five-time Academy Award®-winner Alejandro G. Iñárritu of Mexico.

His 7th full feature film.

—

#Inarritu

#SeptimaPelicula

#OscarAwardee

[oscardozo]

Alejandro G. Inarritu https://ift.tt/zGhL1d4

[los-estudiantes-cinefilos]

Los tres amigos de cine

Los tres amigos de cine es el término usado para describir a los tres directores mexicanos Alfonso Cuarón, Alejandro González Iñárritu, y Guillermo del Toro. Todos de los tres directores han ganado un Globo de Oro y un Oscar, y los tres han tenido mucho éxito en Hollywood porque han creado muchas películas que son atractivos para los americanos. Pienso que estos tres hombres son responsables por mucho del reconocimiento que ha recibido la industria cinematográfica mexicano en los Estados Unidos. También me parece bueno que la industria cinematográfica de México esté creciendo mucho en los Estados Unidos.

Britannica dijo que Alfonso Cuarón se había ganado una reputación por su narración de cuentos elegante y la versatilidad en el rango de géneros con el que Cuarón había trabajado. Él es muy diferente de otros directores y a mí me parece que una de las cualidades que fue responsable por su éxito en la industria es que él no tenía miedo de hacer algo extraño. Por ejemplo, cuando él estaba en el universitario en México, fue expulsado de la escuela porque creó un película en inglés en lugar de español. Tuvo éxito inicial con sus películas Sólo con tu pareja (1991) y Great Expectations (1998), pero su éxito más grande llegó con las películas Y tu mamá también (2002) y Harry Potter and the Prisoner of Azkaban (2004). Me parece que Y tu mamá también es un comentario en los diferentes clases sociales de México porque cuenta la historia de un viaje en auto de dos muchachos jóvenes y una mujer casada. En mí opinión, la audacia de Cuarón para hablar de temas controversiales dentro de su narración de cuentas es parte de la razón que sus películas han tenido mucho éxito.

Mientras Cuarón es conocido por su narración de cuentas, Alejandro Iñárritu es conocido para contar múltiples historias conectadas al mismo tiempo, según Britannica. Como Cuarón, Iñarritu también fue expulsado de la escuela cuando tenía 16 años, y se convirtió en DJ. Él dijo que practicó su narración de cuentas con las canciones dentro de sus playlists. Pienso que los películas 21 Grams (2003), y Babel (2006) son dos de las películas que aceleraron su carrera, especialmente Babel porque tenía estrellas como Brad Pitt y Cate Blanchett. Su película más reciente era Bardo (2022), y el Los Angeles Times dice que la película “es la liberación de la voz” como un periodista mexicana lucha contra un crisis existencial. Bardo fue adquirido por Netflix, y pienso que combina muchos aspectos de las películas anteriores de Iñárritu.

Finalmente, Guillermo del Toro. Él es el más famoso de los tres directores, y es conocido por su películas de terror y fantasía que también tiene elementos de emoción. Del Toro ha creado muchas películas exitosas, pero algunas de las más populares son El laberinto del fauno (2006), The Shape of Water (2017), y Guillermo del Toro’s Pinocchio (2022). Cuando miré El laberinto del fauno en mi clase de español el año pasado, yo estaba asombrado por los efectos visuales de las criaturas fantásticas y los emociones que me sentí al final. El New York Times dice que The Shape of Water “es en parte un cuento de hadas, en una películas de monstruos genéticamente modificados, y en total maravilloso.” Su versión de Pinocchio recibió el Oscar por la mejor película animada. Pienso que del Toro, su trabajo, y su éxito en Hollywood son en gran parte responsable por el reconocimiento que México ha recibido en la industria cinematográfica internacional.

En total, los tres directores han cambiado por 26 Oscars y 12 Globos de Oro, y están representado el país de México en Hollywood.

-Wyatt

Fuentes:

“Alfonso Cuarón.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/biography/Alfonso-Cuaron.

“Alejandro G. Iñárritu: 'Bardo' Es La Liberación De La Voz.” Los Angeles Times, Los Angeles Times, 25 Oct. 2022, https://www.latimes.com/espanol/entretenimiento/articulo/2022-10-25/g-inarritu-bardo-es-la-liberacion-de-la-voz.

“Alejandro González Iñárritu.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/biography/Alejandro-Gonzalez-Inarritu.

“Guillermo Del Toro.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 13 Mar. 2023, https://www.britannica.com/biography/Guillermo-del-Toro.

Scott, A. O. “Review: 'The Shape of Water' Is Altogether Wonderful.” The New York Times, The New York Times, 30 Nov. 2017, https://www.nytimes.com/2017/11/30/movies/the-shape-of-water-review-guillermo-del-toro.html.

“Guillermo Del Toro Recibe Su Tercer Oscar Por La Inspirada 'Pinocchio'.” Los Angeles Times, Los Angeles Times, 13 Mar. 2023, https://www.latimes.com/espanol/entretenimiento/articulo/2023-03-12/guillermo-del-toro-recibe-su-tercer-oscar-por-la-inspirada-pinocchio.“Guillermo Del Toro Recibe Su Tercer Oscar Por La Inspirada 'Pinocchio'.” Los Angeles Times, Los Angeles Times, 13 Mar. 2023, https://www.latimes.com/espanol/entretenimiento/articulo/2023-03-12/guillermo-del-toro-recibe-su-tercer-oscar-por-la-inspirada-pinocchio.