Classic Cinema Work On Son Of Monarchs

“The Son of kings” Alexis Gambis won the award for the Alfred P. Sloan at the Sundance Film Festival 2021, a unique award that goes to a film that “focuses on science or technology as a subject or describes a scientist, an engineer and a mathematician as an important person.”(“Search” was a previous winner). There is a special power in this narrative ambition, in exploring science with emotion, but it can also be difficult. “Son of monarchs”, which is driven by mood as well as by a metaphor from which he does not get tired, embodies the ambition and the same mistakes of a writer / director who tries to action his way through science, while having as minimal a narrative as possible.

Tenoch Huerta proves his silence on the screen in the role of Mendel, a contemplative and diligent scientist who studies the color of butterfly wings. His work is at the heart of what the film does — thinking about butterflies, wondering what it would be like if humans could also fly, using butterflies to give meaning to his feelings. Here everything is a metaphor, connected with butterflies. Ideas can be powerful, but at some point it’s almost like the movie is trying to prove the mileage it can get from an idea that other movies would use as a meaningful character trait.

If you squint, you can see a rather typical narrative base in this story, of a man returning to his native home in Michoacán in Mexico (to sorrow his recently expired grandmother). Mendel faces the different spaces and people of his past life and then thinks about it when he is at home. This dynamic manifests itself a quietly, but they give you enough sense of his family — for a wedding with your niece, which he should have, but many do not take — and of friends, such as Vicente (Gabino Rodríguez), who conducts his own kind of ceremony of sorrowing primary, in which the whole world wears masks of animals and cries to the moon. The most exciting relationship concerns his older brother Símon (Noé Hernandez); They have a lot of emotional distance between them, especially after Mendel’s departure from Michoacán and, in essence, their shared trauma associated with the loss of their parents.

“Son of monarchs” uses the science of butterflies for many meanings, including those of migration, descent and camouflage. With a black cut and the loud noise of the subway cars, Gambi’s film takes us far away from Mexico and takes us back to a life in a concrete jungle, which makes Mendel feel all the more lonely, which is what you understand above all from Huerta’s performance. Mendel looks through a microscope and changes the color with the help of the debatable NEW CRISPR technology, which itself creates more opportunities for the film to present monologues about science and at the same time muffle emotions. He begins a relationship with an immigration lawyer and amateur trapeze artist (Alexia Rasmussen), watches his friend Pablo (Juan Ugarte) move around the field, and returns to the laboratory day after day. Gambis approaches the memories – either as a child learning the miracle of his grandmother’s butterflies, or as a child learning the passed away and science of his brother Simon – lyrical passages cut and scattered from a book.

There is an imbalance in the atmosphere and in the story here that prevents the film from casting as great a spell as it wants. Some narrative pieces are too sober – even for his delicate swirl of emotions-like when Mendel disappears from the people in his life, an emotional passage that doesn’t have the proper effect. At the same time, there are too many dream sequences, moods and metaphors that the story crosses the direct connection between man and animal. It’s almost as if the film would be better if its narrative and scientific ideas exist outside of each other, rather than being used to explain each other’s presence. There are many elements of the story implied here, about Mendel’s return home and relations with those to whom he is closest, that do not require the scientific eye of a poet.

Mendel’s relationship with his older brother Símon leads to a handful of serious and effective scenes, whether as a child (símon’s morbidity at a young age) or in maturehood. Huerta and Noé Hernández have an excellent tension that naturally and painfully reaches a boiling point. The scene is very well done, with a montage that allows us to see how each of you treats the heartbreaking statement you just heard from the other. It is the kind of scene that gives the pulse of the “Son of monarchs” and shows his promising artistic talent. It seems to be no coincidence that this scene has nothing to do with butterflies.

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