Carmen (2022) directed by Benjamin Millepied, retakes the original 1845 French novel plus references 1954 Carmen Jones film, and not the opera narrative. Dance forms becomes the centrepiece of an unsure love story.
It takes liberty to reinterpret the original setting to the U. S./Mexico border, supposed to be set in the Northern Mexican states. Actually it's Oz, the Australian landscape passing for Mexican desert scenery.
Although the film's intent to depict borderlands culture via Oz's landscape, there's odd cultural references like a repeated image of the Chilean Virgin Mary (Lady of Grace), in place of the Mexican Virgen de Guadalupe icon.
Carmen, helmed by Mexican actor, Melissa Barrera and Aidan helmed by Irish actor, Paul Mescal meet under certain circumstances: undocumented crossings (Carmen entering the U. S.) and paramilitary border patrolling (Aidan, retired Marine as a patrol volunteer). Their climatic interaction begins there as they flee together to "ciudad de los angeles" (L. A.).
Many scenes can suggest magical realism or surreal situations. There's some weak writing, with a contribution by Broadway's Alexander Dinelaris, but its strength is the dancing.
Millepied's background as a dancer, support the beautiful choreography that's a lot superior than the noted film, "La La Land". Unlike the prior, Carmen references the social reality of U. S. immigration policies and urban decay.
Dance scenes are breathtaking and employ Iberian and Latin American traditions from Flamenco to Tango. There's even a nod to L. A. contemporary urban dance forms like "Crumping".
The presence of Rossy de Palma, from Spanish cinematic royalty, cements a mystical creature as Carmen's aunt. She is a storyteller, recording Carmen's struggles as well as her love for Aidan.
At the end of the film, viewers navigate through muddled, slow burning action but it's worth it for the dancing and de Palma's acting. Its soundtrack has original compositions by Mexican musicians like Julieta Venegas and historic borderland ballads by Lydia Mendoza!
It takes liberty to reinterpret the original setting to the U. S./Mexico border, supposed to be set in the Northern Mexican states. Actually it's Oz, the Australian landscape passing for Mexican desert scenery.
Although the film's intent to depict borderlands culture via Oz's landscape, there's odd cultural references like a repeated image of the Chilean Virgin Mary (Lady of Grace), in place of the Mexican Virgen de Guadalupe icon.
Carmen, helmed by Mexican actor, Melissa Barrera and Aidan helmed by Irish actor, Paul Mescal meet under certain circumstances: undocumented crossings (Carmen entering the U. S.) and paramilitary border patrolling (Aidan, retired Marine as a patrol volunteer). Their climatic interaction begins there as they flee together to "ciudad de los angeles" (L. A.).
Many scenes can suggest magical realism or surreal situations. There's some weak writing, with a contribution by Broadway's Alexander Dinelaris, but its strength is the dancing.
Millepied's background as a dancer, support the beautiful choreography that's a lot superior than the noted film, "La La Land". Unlike the prior, Carmen references the social reality of U. S. immigration policies and urban decay.
Dance scenes are breathtaking and employ Iberian and Latin American traditions from Flamenco to Tango. There's even a nod to L. A. contemporary urban dance forms like "Crumping".
The presence of Rossy de Palma, from Spanish cinematic royalty, cements a mystical creature as Carmen's aunt. She is a storyteller, recording Carmen's struggles as well as her love for Aidan.
At the end of the film, viewers navigate through muddled, slow burning action but it's worth it for the dancing and de Palma's acting. Its soundtrack has original compositions by Mexican musicians like Julieta Venegas and historic borderland ballads by Lydia Mendoza!