Five-time Academy Award-winner Alejandro G. Iñárritu reteams with screenwriting partner Nicolás Giacobone (Birdman or The Unexpected Virtue of Ignorance) to deliver another visually immersive epic about identity, mortality, and success. Intertwining these concepts with Mexican history and familial bonds, director Iñárritu reimagines the meaning of “midlife crisis” with beautiful scenery and breathtaking sequences that are sure to take audiences on a long adventure full of artistry and emotion. The incomparable Daniel Giménez Cacho stars as Silverio Gama, giving an unforgettable performance that captures the intensity of the film’s concepts. While everything doesn’t always work in Bardo, Iñárritu takes his time painting a visually scrumptious tale even though it’s overly saturated with style over substance.
The story follows Silverio Gama, a renowned Mexican journalist and documentary filmmaker living in Los Angeles. After being named the recipient of a prestigious international award, Silverio is compelled to journey to his native country, Mexico, to reflect on where it all began. During his stay, he begins to experience an existential crisis, where the lines between reality and fantasy blur together to make Silverio question everything — even his sense of belonging. His imagination suddenly takes over, creating an experience that overwhelms both himself and his family. It all leads to one final realization on what it means to be human during uncertain times.
In between the gorgeous set designs and psychologically compelling dialogue, Bardo, False Chronicle of a Handful of Truths misses the mark in delivering a convincing film about one man’s voyage towards fulfillment. Gorgeous camera work and cinematography are the crux of Iñárritu’s feature, but they never feel like they amount to matters that demonstrate who the protagonist is and the spiritual/life journey he goes on. Silverio is a distinguished documentary filmmaker with a beautiful family, and he has great recognition from his peers (whether it’s positive or negative). Yet, the screenplay never lets its audience in on this existential excursion, if not for the visual cues. Sure, it’s fascinating, but more often than not, it’s exhausting as it lacks connectivity with who Silverio is supposed to be.
There’s no denying that Bardo is a visually stunning epic from Iñárritu. The director’s return to shooting in Mexico for the first time since his 2000 picture Amores Perros fondly captures the culture with a celebratory and idolized feel. However, the script leaves much to be desired. At this point in his life, Silverio also battles his inner thoughts, which is compiled from the uncertainties he feels about his belonging and his ability as a filmmaker. Yet, the script never dives deep into his conundrums, focusing more on visual mastery and grandiloquent sequencing that, in the end, comes off more jumbled because they never satisfy from a storytelling perspective. There was even plenty of time to include a minor acknowledgment of colorism. Yet, moments like this important topic never amount to much because Cacho isn’t given much to work with despite being the lead.
Another reason why all these elements don’t work on screen is due to the perspectives from which they’re shared. For example, the script spends time on Silverio’s family and competitors — offering their perspectives on the man Silverio is in lieu of Silverio being able to share that himself. Frankly, it’s an odd choice for a film that sells itself as one that questions identity and mortality because these thoughts come from everyone but him. As a result of these storytelling angles, many scenes feel like they linger for a little too long, lacking the effect necessary to leave a lasting emotional impression. And watching Bardo becomes less like an immersive experience and more like a chore to get through.
Ultimately, Bardo is an achievement in filmmaking that is worth celebrating despite taking too long to get to its compelling third act. It’s also a bit overstuffed with symbolism to represent the complications of life even though the journey towards unraveling them provides a fruitful watching experience. Bardo isn’t the type of movie to demand multiple watches, but there’s plenty to appreciate within the limitations of the script. Rich with fascinating sequences and stunning imagery to denote the intricacies of life, Bardo contains momentous artistry even if it does often lean into self-indulgent territory. And it would have been even better had the main character been given a voice amidst the crises that he faced.
Bardo, False Chronicle of a Handful of Truths released on Netflix on December 16. The film is 160 minutes long and rated R for language throughout, strong sexual content and graphic nudity.