Carmen

It uses the short story of Prosper Merimee, the opera by Georges Bizet as pretext for an impressive show.

This is the first feeling seeing it and it is not just wrong; only not enough.

It is a large puzzle the border immigration, the old myths, music and, especialy dance, the lights are used almost with volupty.

Nice job of Melissa Barrera, fair work of Paul Mescal ( one of main motives, for me, to see the film ) and useful performance of Rossy de Palma.

A provocative remind of essential pieces defining life, from tradition, love, freedom to sacrifice offering staight to each of them.

The sin - the powerful feeling , to the second part of it, to be only an inconsistent improvisation, the dialogue using, too easy, pathetic cliches, the dance being the only matter thing, the sensation to see a puzzle with pieces from many others.

In essence, for me, entire film can be reduced at the dance of Marina Tamayo, reminding more Garcia Lorca than Prosper Merimee or Georges Bizet. For this dance, indeed, Carmen deserves to be seen. So, a two hours ( almost ) film being just beautiful for only three minutes. And this is all.

Predictable and quite basic storyline. Yet, the movie is beautifully done!

If you are into action movies, or dramas - you will find yourself scratching your head a little.. but take it as a new type of presentation.. After all, aren't you already tired of the same gangster, mob stories with racing cars and heavy shootings? (I am! All of the action movies are the same: no real plot line just chasings and gory images.. )

For me, Carmen was like a realistic play that we watch on stages: dialogues are mingled with dance and music to express feelings more than mere images, at times alternating the past and the present, the cause and the effect, the reality and the imaginary..

It's 'almost' an art movie because the image was not spectacular.. Instead, the soundtrack was. Among others, Paul Mescal (I had no idea who he was) sang a song amazingly, reminding me I wanted to learn how to play the guitar..

So the director who choreographed Black Swan, gives us a reimagining on Carmen. It's a musical, it's a dance spectacular.its drama filled study of the border issue in the USA. It's an arthouse study of all of the aforementioned. To summarise, someone has tried to get a quart into a pint pot and ended up with a hot mess. An interesting hot mess. But a hot mess nonetheless.

You can a movie about all of the above but not all at once.

That said, the movie is very well made. There is religious symbolism in the washing of feet, allusions to PTSD, slow motion action scenes, nice cinematography, the director is not without talent and the acting by the leads is very good. It is slow but somehow never boring and worth a watch if you consider yourself a cinephile.

I was going to call the romance at the heart of Carmen unconvincing, and hard to buy beyond the leads both being young and attractive, but then I'd have to go back and apply that criticism to West Side Story and who knows how many other movies, so no, it's not fair to say that. Also, I did buy the two leads as a couple a bit more as Carmen went along, and I think Paul Mescal and Melissa Barrera did the best they could with a fairly slight screenplay.

It's also almost a musical- more songs than most movies at least, and a handful of somewhat trepidatious dance numbers throughout. During some of the better moments, it felt like it was trying to go for something bigger than the production would allow, but then at other points, it felt like it was kind of afraid to be a full-on musical. A movie not feeling sure of itself is a pretty awkward thing. (They might've been sure of what they were making, but the confidence didn't come across in my eyes).

Carmen is also on the nose at points, having an agreeable message but a kind of awkward way of getting the point across at times. It is an unfulfilling movie that at least was going for something bold (I think), some of the time, so it's hard to call it worthless, despite the flaws. There are some striking shots throughout, the music's interesting, and there are two pretty good lead performances at its centre, but I don't know if all those qualities are quite enough to make it work as a whole, or feel worth recommending.

Carmen is a film that's difficult to pigeonhole. It skillfully combines genres, including a captivating love story, a mythical narrative, a musical extravaganza, and a modern interpretation of a timeless opera. Under the guidance of Benjamin Millepied, a dancer and choreographer, we are taken on a journey to the rugged landscapes of the U. S.-Mexico border, where passion, violence and beauty intersect and intertwine.

The central character, played by Melissa Barrera, infuses Carmen with life. After witnessing her mother's demise at the hands of a drug cartel in Mexico, Carmen manages to escape. Along her journey, she encounters Aidan (portrayed by Paul Mescal), a former Marine who has become a vigilante patrolling the border. Despite their backgrounds, they discover love amidst the chaos and uncertainty. On their quest to evade capture and stay ahead of the cartel and the authorities, they cross paths with individuals like Masilda (brought to life by Rossy de Palma), a friend of Carmen's mother who runs a dance club in Los Angeles.

Carmen doesn't adhere to Bizet's opera; it deviates from its songs and music. Nicholas Britell has crafted a score that seamlessly blends flamenco and pop influences. The dance sequences are mesmerising, showcasing Millepied's choreography and Barrera's talent as a dancer.

One aspect that stands out in the movie is its cinematography, skillfully executed by Jörg Widmer. He magnificently captures the essence of the desert, the city, and the night sky, creating visuals that possess a dreamlike mythical quality with a touch of reality. The film delves into thought-provoking themes such as immigration, identity and freedom, handling them subtly without preaching or oversimplification.

Some areas could be improved - moments of confusion in the plot, elements that stretch believability in the third act, and the characters could have been fully developed and their motivations clearer. Some of the dialogue occasionally leans towards clichés and melodrama making it challenging for the film to find its tone as it shifts between romance, action, comedy and tragedy.

Carmen ambitiously tackles a range of subjects. But it doesn't always succeed in doing so. Nevertheless, it remains a beautiful film that captivated me despite its shortcomings. However, others may not connect with it on such a level. Regardless Carmen deserves recognition for its originality and vision despite some flaws in execution and overall coherence.

I liked watching it, although I didn't fall in love with it.