an Oscar nomination. Uxbal is a contradictive and hypocritical character with similar responsibilities to so many of us. Currently, his primary responsibility is to his two young children. For the most part, raising them on his own following his separation from their bi-polar mother, Marambra (Maricel Alvarez), he walks them to school before setting out on his daily agenda.Each new day could call for fighting for better living conditions for the Chinese immigrants being exploited as cheap labor, accepting payment for freeing the souls of the recently deceased or paying the cops to stay off the backs of African street vendors. Uxbal fights for the rights of the underprivileged all while benefiting from their exploitation. You can see he's tormented, but that isn't all he has to contend with.
He's been recently diagnosed with cancer, which causes the fatherly instincts in him to emerge to an even greater level. After all, not only does he play father to his children he must also look out for the lives of the people he's been caring for, and making money off of, on a daily basis. Things go deeper than that, but some things are best left to be found on your own.
Biutiful is an exploration of one man's spiritual journey and for as much as death guides the majority of this story, it's the preservation and caring for the life that will remain once we pass on that makes it the excellent piece of filmmaking it is. Inarritu has bookended this piece brilliantly and it was in the final 30 minutes or so that he finally started pulling me out of the deep depression the film seems it will never come out of. Never before has a birthday celebration been such a welcomed on screen moment, and once the candles are lit this film goes from being a technically proficient downer to an outright magnificent feature.
As I already said, Bardem is extraordinary as Uxbal. The emotional range he has as an actor was tested in every scene and he absolutely never comes off as someone trying to emote he just does. The same can be said for the rest of the cast as everyone involved deserves a round of applause, including the third act introduction of Ige (Diaryatou Daft), an African woman whose husband is being deported back to Senegal leaving her and her child homeless and alone. Daft lifts plenty of heavy weight in the film's final moments and does so with an effortless smile helping the film dig its way out of the dark and into the light.
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