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Poetic and political at the same time, the film unfolds according to an unstoppable stream of consciousness (which has its own logic revealed by the final twist, proving the solidity of a dense but never predictable script), gracefully touching dramas that have forever marked the director’s life, from the confrontation with the ghost of his father by in the face of which it shrinks, the loss of the newborn child, represented in the film by a baby who does not intend to leave the womb even after years of giving birth (humorous metaphor to return the inability to mourn). On the screen, heated political debates alternate alongside wild dance and singing scenes, migrants fleeing the border between Mexico and the United States (in a setting that recalls his installation VR Carne y Arena), alongside reflections on the history of his country – complete with a dialogue with Hernán Cortés.
In short in this film, which represents the culmination of his cinema also at a stylistic level, Iñárritu visibly removes any directorial whimhaving fun playing with contrasts, combining philosophical considerations on life and death with ridiculous jokes about capitalism (“Amazon bought Baja California, let’s sell them Mexico“). Hilarious, how well written, they are the close comparisons between the protagonist and his colleague that focus on the decay of journalismin which “clicks are the new business of multinationals”And journalists are reduced to mere like-addicted entertainers. Several suggestive images remain impressed for a long time, above all the initial one of a shadow flying over the desert like Birdman, and then the highlight of her life, in which “success was my biggest failure“.
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