You can cure it if you want and can. If you want, with will, enthusiasm and determination, you can cure it without a prescription. And if you can, with skill and intelligence, you can cure it from the beginning, along the way, and to the end. Perhaps I’m talking about an alcoholic in happy remission, but not about cancer or some kind of hepatitis. I speak of the essential problems of art in the face of the disease of ignorance, the polio of stupidity, or the metastasis of apathy and amnesia. The languid poems of bold poets seek to coagulate in time the eternal moments that help us understand all eras. And a patient anonymous watercolorist creates tiny waves of color in the water to freeze forever the last sunset of Pedregal de San Angel, like a rainbow over an empty chair. I’m talking about the story of a novelist who coagulates a portrait of the world’s greatest city in the wasteland of the white page, unrelated to essays, eschewing chronology, simply giving voice to delirium in a murmur of brilliance and stupidity. I’m talking about movies. stupidity The film by Rodrigo García Barcha will begin showing on big screens in cinemas this week and will conquer the entire world via Netflix from November 20th.
I have been closely following García Barcha’s filmography and celebrated it two years ago family (Also via Netflix) But I grumbled, having grown up with CDMX now, it would have been time for Rodrigo to make a defense movie. It was time and method: with careful brushstrokes. The Follies Tour the intimate screens of chilangolandia middle class. The movie Sick was in front of many screens in Mexico City. Or there were periodic fevers. forgotten And the alleys of the proletariat and the generational mass of very wealthy people who are already locked. ghost of freedom Or a hodgepodge of so many postmoderns i love dogs…I will never forget the wrestler’s ring and the bubbles of Dunzonera ficeras, but that fever will now subside stupidity In this work by Rodrigo García Barcha, the world’s only orange subway steps depict a city where love and hate are intertwined for hours on end, where Escher paintings look like they are in motion, cars look like charred coffins, and life itself slips away through smoked windows or by sneaky grabs on the buttocks. Here you’ll find a 19th-century house that would be worth a fortune even if it was broken down, a second floor of the utopian Periférico that would become Uber’s footprint, and the rain that always seems to fall in the past.
There is madness seeking hope, Silvio and Pablo singing in two voices, and madness seeking pain, but Rodrigo profiles CDMX with a perfect interpretation of a woman who wears a padlock on her ankle for committing madness against madness, and then we see the madness of an alcoholic on the verge of relapse in the madness of the holy family and the crazy after-dinner session of the vet and her warm dog. A euthanasia service, the madness of a married woman who suddenly awakens to lesbian euphoria, and the madness of a man who sells his 19th century house for its first price. i love movies stupidity Not just García Barcha’s direction, but all the mosaics that make it up: the masterful performances of the women and men as the obvious characters in the mirror, the music of each scene and their silence… and even the performance of the little dog who appears like a tormented soul in the extraordinary scene on the edge of the flood.
The bad thing about having friends who are considered family members and villains is that my paragraphs don’t seem to be very objective and could be seen as hyperbole or exaggeration, but I calmly reiterate that while I can’t reveal the whole movie and its many aspects, we are faced with a book of stories that reads like a novel – something Rodrigo has already done in other films (something his father would stand up to celebrate today as a chagrined filmmaker). stupidity This work consists of six stories intertwined with precise stitching. The six women who walk through the story depict the constant struggle, the burning dignity, the sin and its production (with or without a mask), and the immense courage to protect the normalized madness from all sanity with open arms.
Against this background and theme, the film reveals the madness that surrounds and embodies us, the breaks that take us out of our rational frame, and even the small spaces of forced confinement that can become vast meadows of liberation. The insane release of hanging in bars like monkeys or screaming loudly in the middle of Mexico City so that millions of silent people can go on with their lives without hearing us. García Barcha has created a visual novel in which—again—each story vibrates at different decibels and seismometers, forming a striking symphonic and visual score. By reflecting in the mirror and contemplating the invisible city where life’s rainy windows, the irrational reasons that reflect the camera lens as a podium, the mind and madness projected to appreciate and reconsider all the various madnesses that we must assuage, if you will, and you can cure everything.
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