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Revolution. At a time when the new
Mexican government was fixated on constructing a national identity through the arts—look no further than the work of Los Tres Grandes, the painters David Alfaro Siqueiros, José Clemente Orozco, and her future husband, Diego Rivera—that is a significant detail, if not an essential one. Even if Kahlo was often dismissed as Rivera's wife or a second-tier Surrealist painter during her lifetime, she was just as committed to the cause of a new Mexico. That goes unmentioned in the film.
252:. Both animation and sound design are leveraged in order to further depict the complexity of Kahlo's psyche, making for a visceral and intimate look at her vast and changing senses of human desire, the state of the world in the twentieth century, and her own artistry. With a rich body of archival material with primary relevance and association with Kahlo, such as her own works as well as correspondences from her loved ones, a multifaceted and dynamic look at Kahlo's life and legacy appears.
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impressive, but it deprives viewers of the chance to see her work unvarnished while listening to her words. Perhaps the choice was made to add some motion into what otherwise could have been a static film that resembled a PowerPoint presentation. But there is something incomplete about a painting documentary that manipulates the actual work — especially when so much of the film's thesis rests on the idea that Kahlo deserves to be remembered on her own terms.
331:, who also managed to capture footage of Kahlo's hospitable encounters with Trotsky. Just in time for showing at the Sundance Film Festival, the Hoover Institution remastered their footage to 4K in order to provide the best possible quality for Gutierrez. Additionally used were the papers of Bertram D. Wolfe, an American communist and friend of Rivera who personally held many photos of Kahlo and Rivera, several of which are seen in the film.
482:. Keeping the words of Kahlo and Rivera in the original Spanish adds a certain immediacy, but that narration is not always quite so effectively applied. American newspaper reports are recited in a ridiculous fake '30s radio voice (you know the one), and why exactly are the words of French poet André Breton and Belgian surrealist René Magritte presented in thickly-accented English?
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chose to highlight, were effective. Specifically, the choice to animate some of Kahlo's self-portraits appeared divisive. For some critics, however, the film excelled in its faithfulness to Kahlo's story, its ingenuity of craft, and its wondrous contribution to the body of work dedicated to capturing the enormity of the
Mexican painter's life. On the
280:, for insight on how to make a larger-than-life documentary about a female icon. While some studios found the prospect of a Spanish-only film to be daunting, especially with its experimental elements in visuals and sounds, a few distributors eventually took on Gutierrez's vision for a directorial debut: a documentary sourced from Kahlo's own words.
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underrepresented in exhibits and other tributes, to be refreshing and a certain positive. Furthermore, Durón argued that
Gutierrez's film needed to have a different orientation to Kahlo's politics, citing the film's lack of commentary on her belief in communism as well as a sparse account of her relationship to Trotsky. Regarding the
236:, Kahlo chronicles and addresses her entire life and career from a first-person perspective. Many of the most pivotal and formative moments of her life are mentioned and/or detailed, such as her devastating accident as a passenger of a trolley car, her complicated relationship with the fellow Mexican painter
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While Kahlo's eloquence provides an excellent foundation for the film, it can be disappointing that her art isn't highlighted with the same prominence as her writing. Rather than show her actual paintings, the film relies on animated versions of them that bring her portraits to life. The execution is
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at the
Sundance Film Festival in Park City, Utah found the documentary to be an ambitious attempt to depict Kahlo's life and career with both accuracy and novelty, though some were divided on whether Gutierrez's idiosyncratic techniques of production, as well as the points of Kahlo's life which she
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Maximilíano Durón said that "the film unfortunately tells the same story that has already been told about Kahlo, without providing much new material along the way, other than some kitschy animations of her paintings." However, Durón found the emphasis on Kahlo's words, which have historically been
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Such razor-sharp perceptions and unapologetic pronouncements fuel Frida no less than the unsettling and beautiful images she conjured. Beyond the artistic pretensions she disdained, Kahlo noted that her canvases depicted her life, not the dreamscapes that were central to
Surrealism. It was an
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In order to understand Kahlo and her art, it's crucial to view it against the backdrop of post-Revolution Mexico. She was born in 1907, three years before the
Revolution began, but at a certain point in her life, she redated her birth to 1910 so that she arrived in the world along with the
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exceptional life, and here at last is a film that not only honors her without resorting to sensationalism but that also lets her speak. At the end of Gutiérrez's fine film, you likely will feel the spell of a remarkable person's company.
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The film draws upon many multimedia elements, including but not limited to voice acting, animation, and restoration of materials in old and antiquated formats. The words of Kahlo herself, taken from her own writing, are narrated by
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359:, but she also significantly edited it herself using a wide variety of Adobe tools. Her own editing was joined by a diverse production team of sound designers, musicians, and animators who further added new dimensions to
312:. With permission, Gutierrez was given access to Herrera's research which she had used for his book. In Herrera's attic, Gutierrez found a diversity of transcripts, writing, and other primary sources.
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to add a visual counterpart to her film's sound. In order to shape and inform the timeline of Kahlo's life and career, Gutierrez drew upon
American historian Hayden Herrara's 1983 book
384:, the film has a rating of 90% and an average rating of 7.5/10, based on 48 critics' reviews. The consensus reads: "Using the artist's own words to tell her fascinating story,
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was conceived, Gutierrez noticed the abundance of existing writing from the
Mexican painter yet not a narrative told from her own words. She then approached Julie Cohen and
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is intriguing, and undoubtedly a good primer to the life, mind and work of the artist, it's still a little overshadowed by
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568:"Sundance Film Festival 2024: 'Will & Harper', 'FRIDA', 'Layla', 'Love Lies Bleeding', 'Power' Among LGBTQ Titles"
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The film won the
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919:"New Frida Kahlo Documentary at Sundance Doesn't Even Scratch the Surface of a Complex Artist"
894:"New Frida Kahlo Documentary at Sundance Doesn't Even Scratch the Surface of a Complex Artist"
619:"'Frida' Review: Popular Mexican Painter Speaks for Herself in Doc Drawn From Kahlo's Diaries"
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The Love
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where it won the U.S. Documentary Jonathan Oppenheim Editing Award.
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is an absorbing documentary for novices and faithful fans alike."
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Though he complimented the film's feats, Christian Zilko from
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Through her own writings and interviews, as well as brand-new
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969:"Sundance Review: Frida Expresses Frida Kahlo's Inner Life"
793:"Sundance Film Festival 2024: FRIDA (by Carla Gutiérrez)"
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at the 40th Sundance Film Festival on January 18, 2024
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593:"Sundance 2024 Film Review: Frida ★★★★"
321:Hoover Institution Library and Archives
208:is a 2024 documentary film directed by
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479:Frida Kahlo: A Ribbon Around a Bomb
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1749:Cultural depictions of Frida Kahlo
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1759:Biographical films about painters
1231:Frida: A Biography of Frida Kahlo
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917:Durón, Maximilíano (2024-01-19).
892:Durón, Maximilíano (2024-01-19).
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867:Linden, Sheri (2024-01-19).
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319:were collections of the
158:March 14, 2024
1572:Frieda and Diego Rivera
1553:Pinacoteca Diego Rivera
1472:Detroit Industry Murals
1068:Frieda and Diego Rivera
454:s Austin Whitaker said,
1779:Films about disability
1744:2024 documentary films
1132:What the Water Gave Me
873:The Hollywood Reporter
847:www.rottentomatoes.com
697:Sundance Film Festival
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436:additionally remarked,
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1480:Man at the Crossroads
1437:The History of Mexico
1290:The History of Mexico
1148:Two Nudes in a Forest
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107:Imagine Documentaries
16:2024 documentary film
1718:Diego Rivera Gallery
1543:Museo Dolores Olmedo
1363:Museo Dolores Olmedo
1325:(2017 animated film)
1084:My Dress Hangs There
476:'s hybrid docudrama
448:The Austin Chronicle
166: (United States)
1076:Henry Ford Hospital
286:Fernanda Echevarría
268:, the directors of
1690:(conjugal partner)
1538:Frida Kahlo Museum
1533:Anahuacalli Museum
1445:Pan American Unity
1298:Pan American Unity
722:Hoover Institution
648:Salt Lake Magazine
419:Mexican Revolution
394:Sheri Linden, for
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129:Amazon MGM Studios
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1164:The Wounded Table
1092:Memory, the Heart
378:review aggregator
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1670:Angelina Beloff
1628:Cradle Will Rock
1604:Frida Still Life
1596:The Love Embrace
1515:Glorious Victory
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1405:Diego Rivera
1345:Diego Rivera
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1309:(1947 mural)
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1293:(1935 mural)
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1263:Broken Wings
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849:. 2024-03-14
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599:. 2024-02-01
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574:. 2023-12-07
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238:Diego Rivera
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175:Running time
112:Time Studios
80:David Teague
1682:Frida Kahlo
1655:(2024 film)
1639:(2002 film)
1631:(1999 film)
1623:(1993 book)
1607:(1983 film)
1588:Diego and I
1475:(1932–1933)
1456:(1946–1947)
1440:(1929–1935)
1432:(1929–1930)
1317:(1999 film)
1274:(2024 film)
1258:(2002 film)
1226:(1983 film)
1196:Diego and I
1043:Frida Kahlo
923:ARTnews.com
898:ARTnews.com
218:Frida Kahlo
67:Frida Kahlo
47:Produced by
39:Directed by
33:Film poster
1739:2024 films
1733:Categories
1702:(daughter)
1696:(daughter)
1684:(3rd wife)
1678:(2nd wife)
1672:(1st wife)
1564:depictions
1499:The Rivals
978:2024-02-11
953:2024-02-11
928:2024-02-11
903:2024-02-11
878:2024-02-11
853:2024-03-15
828:2024-02-11
803:2024-02-11
778:2024-02-10
752:2024-02-10
727:2024-02-10
703:2024-02-10
678:2024-02-10
653:2024-02-10
628:2024-02-10
603:2024-02-10
578:2024-02-10
554:References
474:Ken Mandel
458:But while
325:Blue House
266:Betsy West
256:Production
179:87 minutes
162:2024-03-14
147:2024-01-18
96:Production
1347:(husband)
1108:The Frame
1051:Paintings
948:IndieWire
673:IndieWire
433:IndieWire
367:Reception
234:animation
184:Countries
98:companies
75:Edited by
1562:Cultural
1464:Frescoes
1359:(father)
1353:(sister)
380:website
306:'s 1976
242:New York
216:painter
194:Language
153:Sundance
85:Music by
63:Starring
1714:(model)
1663:Related
1526:Museums
1333:Related
623:Variety
487:Gallery
412:ARTnews
400:, said,
335:Release
246:Detroit
228:Premise
214:Mexican
197:English
160: (
145: (
1518:(1954)
1510:(1932)
1507:Zapata
1502:(1931)
1448:(1940)
1421:Murals
1234:(1983)
1207:(1949)
1199:(1949)
1191:(1947)
1183:(1946)
1175:(1944)
1167:(1940)
1159:(1940)
1151:(1939)
1143:(1939)
1135:(1938)
1127:(1938)
1119:(1938)
1111:(1938)
1103:(1937)
1095:(1937)
1087:(1933)
1079:(1932)
1071:(1931)
1063:(1926)
774:(Blog)
290:Mexico
187:Mexico
151: (
1652:Frida
1636:Frida
1612:Frida
1271:Frida
1255:Frida
1239:Frida
1002:Frida
772:Adobe
572:GLAAD
469:Frida
460:Frida
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386:Frida
373:Frida
361:Frida
357:Frida
345:Frida
317:Frida
300:Karen
277:Julia
262:Frida
205:Frida
22:Frida
1322:Coco
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302:and
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271:RBG
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