Carmen (Melissa Barrera) is a young woman forced to flee home. Her reasons for fleeing the Mexican desert are somewhat mysterious, and all we know is that she is being hunted by a pair of men who will destroy and kill anyone in their way. We also meet Aiden (Paul Mescal), a man who has previously served in the military. It’s evident that he carries a past, and he is continually reminded of the war in his everyday life. Aiden works as a border guard between America and Mexico and patrols with a partner named Mike (Benedict Hardie).
While Aiden is working and patrolling one evening with Mike, Carmen and many others have successfully crossed the border. Soon they are discovered by Mike and Aiden. Mike’s behaviour towards Carmen and the others is wildly inappropriate, and when Aiden makes a stand, problems only worsen. Now, Carmen and Aiden are on the run from the law. They both hope to start a new life, but as they run and hide, they soon find they have much in common, and their desire for one another begins.
For those who are not aware, Carmen is based on a famous opera of the same name by Bizet. Here, Carmen (2022) is completely reimagined and retold in a new style using original scores and songs instead of music by Bizet. If you are highly familiar with the original story, I’m excited to share that certain plot areas have been changed or slightly altered. Aspects of the plot are left for viewers to interpret, including Carmen’s reasons for running far away from her home in Mexico.
While I wasn’t overly familiar with the story of Carmen, I found myself moderately engaged with the entire story and was curious to find out if our leads could escape their pasts and live a life of freedom. The film’s music and dance sequences also dramatically heighten this film at various moments, which helps with viewers’ engagement and creative storytelling. I was surprised to find this was a directional debut from choreographer and dancer Benjamin Millepied, best known for his work as a ballet choreographer in other dramatic films such as Black Swan (2020) and Ballerina (2016).
Performances from both Paul Mescal and Melissa Barrera are lovely, even more so whenever the two share the screen. The romance and dance sequences the two share are believable and impressive. Actress Elsa Pataky also brings a fun presence to the screen, but sadly her screen time is brief. The performance from Rossy de Palma is captivating here.
Visually, this film is flawless and stunning. There are beautiful landscapes and fantasy-like imagery. It’s impossible not to be pulled in by the visuals and cinematography alone. As a bonus, the film was shot in Australia. However, I did find the movie came to a standstill between the second and third acts, almost as if the story had stalled entirely. Despite this, there is still a memorable and profoundly impacting conclusion.
Overall, Carmen delivers excellent performances combined with touching choreography thanks to the directional debut of Benjamin Millepied. The various locations in Australia are beautiful, and there’s a clever use of lighting throughout. The dance and music numbers shown throughout are highly entertaining and impressive. If you are highly familiar with the original story, you may find some finer details have been altered, as this feature is a whole new interpretation of the famous opera by Bizet. The transition between the second and third acts is prolonged and almost puts the film at a standstill before a touching grand finale which I found to be deeply impacting.
7.1/10
9th July 2023
Written by Peter Walkden
WALKDEN ENTERTAINMENT
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