![]() ![]() “Anything they decide will be great,” Iñarritu said. The final determination will be made at the end of the month. Meanwhile, it remains a frontrunner for Mexico’s official Oscar submission as one of four films on the country’s shortlist. theaters November 4 (it begins streaming on the service December 16). “Mexico is not a country, it’s a state of mind, and the film came from that - this sense of a country that does not belong to you, and you cannot return to it.”Īfter San Sebastián, the new cut of “Bardo” will make its way through the festival circuit, with bookings at London and AFI FEST ahead of a theatrical release from Netflix in Mexico starting October 27 and select U.S. ![]() “We wanted this mural of mental states,” Iñarritu said. “We felt that images were navigating what we wanted to say emotionally.”įrom an opening scene in which the character imagines he can fly to a later one where he converses with his father’s ghost, “Bardo” ebbs and flows with a constant subjectivity. “There is something about reading subtitles in trailers that can interrupt the flow,” Iñarritu said. It also takes dialogue out of the equation. Regardless of how the latest cut differs from the earlier one, the trailer captures the essence of the movie, condensing many of its most striking visuals into an impressive collage. Nevertheless, he added with a smirk, “it is shorter than ‘The Revenant.’” (Iñarritu’s Oscar-winning wilderness epic runs about four minutes longer.) There is nothing more powerful than seeing the film with audiences. “I’ve seen films that are 80 minutes and too long,” he said, “or three-and-a-half hours and not too long at all. Iñarritu noted that his first cut of “Bardo” ran over four hours, but insisted that length was never his biggest concern. “It was really about getting the internal rhythm of certain scenes right.” “Bardo” SeoJu Park “Most of the film is in untouched,” Iñarritu said. I did some restructuring with the music that made me feel more confident about it.” However, a prolonged dance floor sequence that’s a centerpiece of the movie remains the same. “That’s the magic trick that nobody will really know. “It’s a very endearing little scene,” Iñarritu said, but declined to elaborate on other tweaks. The additional scene added into the movie revolves around a conversation that the protagonist has with his driver as they ride into Mexico City. “There is nobody better than me who knows all the dots that connect and how they could connect better.” “I want to reaffirm that I have not read one single review for my healthy mental state,” he said. This week, he confirmed that nothing has changed on that front. “I would love to keep working with this film all my life.”Īt Telluride, Iñarritu said he was avoiding early reviews of “Bardo,” which were mixed. “If I could, I would keep editing the whole year,” he said. This is nothing new for the director, who said he tinkered with the edits of “21 Grams” and “Babel” after their respective festival premieres. The deadlines just ask you to deliver it.” “Honestly, I will keep doing this until it’s released to get the best film while I can,” he said. Little by little, I tightened it, and I am very excited about it.” That process was still ongoing. “That was a nice opportunity to see it and learn about things that could benefit from being tied up a bit, add one scene that never arrived on time, and move the order of one or two things. “The first time I saw my film was with 2,000 people in Venice,” he said. Iñarritu said that since deadlines prevented him from holding friends and family screenings before his initial festival run, it was only during that period that he was able to process the movie with an audience. ![]()
0 Comments
Leave a Reply. |