Whatever his title, the Colombian director Simon Maysa Soto, a “poet”, plays like a long story than a cinematic poem. The film, which won the Jury Award in the United Nations Vential Department at the Cannes Film Festival, is a Farhan myth at the attempt to lead a creative life and fail to fulfill its ends. A tone of tampering turned into seriously to ridicule and back again. This strange mix should not work, but Soto pulled it with a certain hand and the narration of the exact stories. He succeeds in being funny and influential, making the “poet” more than achievement.
The film is located in Medellín, and is followed by Oscar Restrepo (Ubeimar RIOS), a poet who published two books early in his adult life. Now in middle age, he finds himself unemployed, calls and lives with his elderly mother. Soto’s image of this character is revealed through some humorous scenes. He is drunk and fights around who is the best Colombian poets with his friends on the streets. His sister pays him to get a job and tells him starkly that he will be homeless when their mother dies. His teenage daughter is embarrassing because he visited her in school.
He disastrously destroys an invitation to read his poetry in a cultural event by appearing drunk and going to the feasibility of trying to lead the artist’s life. While laughing at all these hikers, the audience also recognizes Oscar as a single lonely Woe that loves women in his life, and they work according to his moral compass. Although Oscar may be stubborn and unabated in it, he knows instinctively how his life should have been going. It is unfortunate that he cannot gain a livelihood or keep a friend.
Enter Eurallady (Rebecca Andradi), an Oscar teenager who meets when he takes a part -time job as a secondary school teacher. She is also a poet, or at least, writing prose well. Surprised by the clarity and beauty of her writings, Oscar Yurladi takes as a teacher, in an attempt to restore his past glory through her talent. However, coming from a poor family, Eurallady is more interested in finding ways to support her family. If the hair can be a way out of poverty, it is interested. Otherwise, she prefers to spend her time drawing her nails.
The satirical dimension of the “poet” begins when Oscar Euralladi finds a position in a prominent poetry. Managers and investors behind this institution cannot get enough yurdy. They try to convert this black girl from modest assets to their amulet, using her to generate advertising and donations. This is the spelling of artistic institutions and people fill in real episodes. Soto has an unforgettable eye that reveals these Poseurs: The two mantle artists who work as guides, art shepherds who use their money and strength to reach and play as they belong to the world of art, white sponsors and foreigners who want to gradually appear by supporting the art of colored people.
However, within this sharp criticism, SOO maintains its focus on the developing relationship between Yurlady and Oscar. They may not have what they think they need from each other, yet they are still able to form a connection. Yurlady does not care to become a poet, and an Oscar is a terrible guide. He is also a bad man in the world. Parking has a way out of control when it is present. The bonding batch maintains the Champions League on the film, whether in interesting or heartfelt moments. The balance between two parties is maintained throughout, leading to an entertainment movie that moves the audience with tenderness.
RIOS can be believed like Oscar, you think this movie was a documentary film for his life, not a textual drama in which he behaves. RIOS uses his voice and distinctive facial expressions to detect both noble and unbearable aspects of Oscar. Both RIOS and Andrade of non -professional actors show Soto’s leadership of his movie. Both actors have a natural presence in front of the camera.
It was filmed in the film photographer Juan Sarmino J. Trio Ramberget and Matti Bye tend to come in a loud shroud that decorates the absurd procedures, but it can be quietly affectionate as needed to transfer the audience with tenderness. All of these elements work side by side, leading to a really unique cinematic experience that increases Soto. There is no stranger to the Cannes Festival, where he won a short Bali or in 2014 movie for “Leidi” and another prize in the Critics Week in its “amparo” appearance for the year 2021, Sotot presents the capabilities of those awards it emanates.