Chilean Cinema 2014 #30 – Génesis Nirvana (2013)

(Chile 2013 78m) Cinemark Alto Las Condes

p Diego Rougier, Mariana Loyola, Javiera Contador, Alejandro Lagos d/w Alejandro Lagos ed Rodrigo Toro c Cristóbal Cvitanic s Pablo Ilabaca

a Paulina García, Alejandro Goic, Ramón Llao, Mariana Loyola, Ariel Mateluna, Juan Pablo Miranda, Maite Neira

This is a translation of a review written for El Agente Cine.

‘Génesis Nirvana’ (2013) is a Chilean film.

‘Génesis Nirvana’ (2013) is a prophecy that fulfills itself in the simplest, most orthodox, ordinary and lazy possible way.

Génesis Nirvana is the name of a character that we never see in the movie, she’s dead, a six year old.

‘Génesis Nirvana’ (2013) is the history of a revenge that is wanted and that is done, with a couple of detours, but that happens without problems and without afterthought.

Revenge is, in these times, on of the topical themes in fiction, so confronting the idea of making a movie where this act is the final one results more and more difficult nowadays, specially when you want to be original, make it more complex, give it some ground or a possible critic towards the violent act that revenge is.

Or one could obviate all that and simply put on the screen an event horrifying enough to guarantee the sympathy of the spectator with the character that will execute the vendetta, just to avoid the whole discussion, all novelty, all possible interest that this complex theme could even attempt to have.

‘Génesis Nirvana’ (2013) is exactly that, the absolute dilution of any possible psychological interest, of any social complexity, any clue of subtlety, a scarce quantity of elemental audiovisual narrative or grammar; it prefers the use of cheap imagery, the TV framing, the music video editing, the stringiest music that doesn’t communicate anything beyond what the scene is saying.

‘Génesis Nirvana’ (2013) mixes two types of film stock without any apparent reason. The protagonist constantly uses a handheld camera to record herself, a way of confessing, be sincere, demonstrate the reasons that lead her to the killing of the murderer of her daughter. In certain parts we can note how she is recording on top of a video she recorded earlier with her daughter playing in a playground, something that works as an emotional punch, but it has no real sentimental sense: if she did care so much about her kid, she wouldn’t be deleting such an important piece of memory.

‘Génesis Nirvana’ (2013) wants to be an important movie, of those that punch emotionally because of the strength of the theme they occupy, the violence in which certain events are described, the crude social situation of some characters and moments, but it doesn’t want to be something beyond that, and it’s in that bad distribution of these elements that at times we can be submerged in ridiculousness, in the worst kind of melodrama, with crying and furious looks that cause more a chuckle than grief or anger.

Beyond the bad structure and the bad intentions that the movie has overall, it does manage to churn out a couple of moments with some tension, thanks more than anything to the fact that they are lifted from more successful films than this, but that in the end deserve the attention. Nevertheless, those scenes can’t life the tedium of a movie that is long, repetitive and even harmful for any future movie that would want to take similar elements from the thriller.



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