The Oscar-winning director of “Birdman” and “The Revenant” churns out an indulgent and over-ambitious film that, even after cutting 22 minutes, overstays its welcome, writes Nick Schager.
Bardo, False Chronicle of a Handful of Truthsas its foundational inspiration , Iñárritu’s latest is a self-referential chore, one whose chaos is as constant as it is obvious, and whose fancifulness is both knocked and defended by the film itself. A carnivalesque auto-celebration-cum-critique that strives to touch upon a wide range of issues—including Mexican identity, artistic independence and co-option, and familial trauma and regret—it’s a deep dive into shallow existential waters.
—which he slanders for being everything Iñárritu’s film is, at which point Silverio vehemently stands up for his creative decisions and magically silences his adversary. This symbolic episode takes place while Silverio sleeps in a hospital hallway, and his ensuing adventure is one in which waking and slumbering realities co-mingle in what appears to be free-association fashion—at least, until the underlying threads connecting everything become impossible to miss.
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