“Alejandro G. Iñarritu’s disjointed, unnerving, divisive, Fellini-esque autobiographical film Bardo. Made of lengthy sequences about mile-long umbilical cords, Halcion-driven dreams over large desert expanses, and carnivalesque parties in which sexualized bodies parade like dead souls, Iñarritu’s film is one that challenges its viewers to make sense of it, although it becomes clear rather early that Iñarritu himself doesn’t know what its true message is. Perhaps it could be said that the film itself is in crisis.” “One of the film’s most attractive elements is undoubtedly the camera work by the Iranian cinematographer Darios Khondji, who has also worked with Bernardo Bertolucci, Peter Handke, and Bong Joon-ho. (His work in Iñarritu’s film has been nominated for an Oscar.) The magnificent shots of the desert in San Luis Potosí, of colonial architecture in Mexico City and the urban skyscape of Los Angeles, of Playa Balandra in Baja California, and of the inside of theaters and discotheques distill the disjuncture that connects Gama’s inner and outer odysseys. As the film goes on, we realize that while the cinematography might be sumptuous, Bardo is also about excess.” “… a labyrinth inside labyrinth.”—”Stuck in the Labyrinth. Disjointed and divisive, Bardo challenges its viewers to make sense of it.”
More about Alejandro G. Iñárritu’s BARDO, False Chronicle of a Handful of Truths.
Also a book Bardo: False Chronicles of a Handful of Truths [Amazon] by Alejandro G. Iñárritu and soundtrack Bardo (Soundtrack from the Netflix Film) [Amazon] by Bryce Dessner & Alejandro G. Iñárritu.