Searching for Identity in Iñárritu’s Bardo
The director's latest is a dreamlike exploration of a consciousness torn between two homelands, and the implications of history and memory suspended in limbo.

The divergent lives of twin brothers, Raúl, a violent policeman, and Valentín, a mentally handicapped man, cross paths again when the former decides to visit his family.
The director's latest is a dreamlike exploration of a consciousness torn between two homelands, and the implications of history and memory suspended in limbo.
We sat down with Writer/Director Albert Acosta to discuss his debut short film, (ha-ha), Acosta's foray into narrative cinema, and how his personal experiences have shaped his filmmaking philosophy.
It’s fun, it’s energetic, but it’s also understated and vicarial. Zola is a modern black fairytale and future of black movies.
You can’t talk to my grandpa about The Sopranos. You can’t talk to him about The Godfather either. Merely by bringing up the subject, you’d be treated to a lecture on how movies and TV want you to believe that all Italians are criminals and mobsters. He won’t watch any of it, in protest.
There were too many irrelevant parts that could have been shortened, and too many characters that didn't advance the plot. Either way, some things didn't add up. This was just another played out plot with little, if any, originality in it. By the end of the film, I wasn't happy that she finally got her freedom, I was happy that it was finally over.
Like most young people, Leviticus is imperfect. But I love it anyways.