Out of Competition - BLEAK STREET by Arturo Ripstein

Life is a dish served "bitter" in the empoverished streets of Mexico City. BLEAK STREET (La Calle de la Amargura), the latest film by ARTURO RIPSTEIN was screened out of competition at the 72nd VENICE FILM FESTIVAL.

ARTURO RIPSTEIN's latest film BLEAK STREET takes us once again back to the streets of Mexico City, where it is set. It presents a realistic portrait of the city's empoverished side, populated by petty criminals, prostitutes and peculiar characters. It is a place where religion and sin walk hand in hand, a setting where women play mother figures to the childish incompetent of its male figures. 

The storyline particularly follows the lives of four characters; two twin midget wrestlers and two aged prostitutes, whose lives finally cross in its ending. 

Fascinatingly, and not unlike Ripstein's previous works, BLEAK STREET presents its stark realism to the point of absurdity in a neo-realist and traditionalist way. Such an approach is clearly shown through the use of black and white photography, that adds an air of timelessness of the story. But this is part of the appeal of the film, and a quiet addition to its visceral impact.

Nevertheless, despite its effective dramatic nature, the film is highly enjoyable also because of its sense of humour due to the outrageousness of some of its character's peculiar aspects of their everyday lives and an overal wit and intelligence. The wrestlers, in the tradition of Mexican luchadores, are constantly wearing masks, which makes their interactions seem dreamlike. 

And, speaking of the air of timelessness of the film, it's almost surprising to see, near the end, alien objects like mobile phones and computer screens appear, as its dominant setting's decaying buildings and overall poor conditions might misguide the viewer in thinking that he's watching a period piece. This is all part of the feature's creativeness, that flatters the narrative but never to a point when it feels overdone. 

The sophistication of RIPSTEIN's touch in dealing with people who are essentially marginalised, broken and often living a decadent existance, is clearly highlighted by the respectful tone with which he tells his characters' story. 

The only thing that might be worth criticizing is that the two storylines, the one of the wrestlers and the one of the prostitutes, don't gel too well and are kept separate right until the film's resolution. But even this particular choice seems to have its meaning, as if the director had wanted to prevent a viewer from focusing on its ending, since this is not really meant to be a deductive film. Furthermore, this choice accentuates the feeling of helplessness of the inhabitants of the film's setting, their bad decisions and often downright bad luck, where tragedy is just around the corner and where, in spite of their best efforts, life seems to be a dish served bitter.