Found footage films can be suffocating, or I should say it takes a lot for me to enjoy one. In some ways, they are the most intimate form of visual storytelling and bring forth a truly subjective eye. While it is compelling, it can be jarring, particularly if the story is unfocused. I tend to raise an eyebrow when most come my way. This is not the case with Barrio Triste. While it is at times uneven, the film is provocative. It blends genres and tones—a crime drama, a coming-of-age story, and a supernatural occurrence. There is a strong emotional core that overrides much of the film’s weaknesses and delivers a haunting atmosphere and an original creative style. I guarantee this is one of the most original found-footage films you’ll see.
The film is the directorial debut from Bad Bunny collaborator STILLZ. Set in the 1980s in the impoverished neighborhoods of Medellín, the story involves a group of disaffected teens living on the fringes of society. From the start, there is a clear focus on creating a sense of personal connection to the story, which is reflected in the film’s title, a callback to his old neighborhood in Medellín. Right away, there is an immediate sense in terms of both history and, more importantly, authenticity.
At the outset, this group of teen outcasts steals a news camera to document every detail of their dangerous lives. The story brings us front and center into these kids’ in-the-moment reactions, but lingers to capture the pain, frustration, and sadness that grip them in a vice. Now, the story, for the most part, is nothing entirely new. Yet, Stillz and company make up for that with a look at the film that feels like a hat tip to Backrooms. There is also a gritty texture to the frame that keeps it from breaking the fourth wall, so to speak, and keeps us transported back to 1987.
In addition to the look, and frankly what aids the film with remarkable pulse and flourish is the score. Arca, produced by Harmony Korine’s collective EDGLRD, radiates an atmospheric pulse that gets into our very souls. It works in terms of the story’s melancholy: the anxieties of youth, particularly those on the margins of society. The music brings weightiness to the narrative, even as there are several unexpected pivots and shocking left turns.
While much of Barrio Triste is a coming-of-age story, Stillz manages to subvert the conventions, even if it does seem rather jarring. We see much of the city in the film being the target of crime and violence. In short, the story spins a familiar yarn. It is violence begetting violence; however, where the optics change is through the inclusion and revelation of possible extraterrestrial happenings. Mysterious lights are falling from the sky, leading to some eclectic visuals in this voyeuristic tale.
Now, I’ll confess that the film’s twist will either be a clarifying event or create a sense of general confusion. Much of this film relies on vibes and feelings, particularly from the look and mood. Where Barrio Triste succeeds is not when it attempts to subvert convention, but when it turns on the camera on the group of teens and offers a look at their souls as much as their psyches.
The film expresses great pathos from those living on the edge. Through creative mind’s eye design, it attempts to capture a voice, or in this case, a voice yearning to be both heard and understood. It is a story of chaos that seems innate, and tragedy that seems predestined. For what is, for all intents and purposes, a found-footage film, this one captured a wider world beyond the lens and cobbled together a story that conveyed a mood and a feeling.
Barrio Triste is currently playing in select theaters courtesy of Film Movement.
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For what is, for all intents and purposes, a found-footage film, this one captured a wider world beyond the lens and cobbled together a story that conveyed a mood and a feeling.
Writing & podcasting, for the love of movies.
His Letterboxd Favorites: The Dark Knight, Halloween, Jaws & Revenge of The Sith.
