Five-time-Oscar-winning Mexican director Alejandro González Iñárritu is out there blasting woke film critics as racist.
How does life get any better than this?
Iñárritu’s films have earned a total of 33 Oscar nominations and eight wins.
Iñárritu himself has won five — five! — Oscars, including two in a row as Best Director.
In 2014, he won Best Picture, Screenplay, and Director Oscars for the dreadful Birdman or (The Unexpected Virtue of Ignorance).
The following year he won Best Director for the superb The Revenant.
On top of those four, he won a Special Achievement Academy Award in 2018.
This guy’s got five Oscars, and now he’s attacking critics as racist over the reception of his latest movie — Bardo, False Chronicle of a Handful of Truths — which came out of the Foo-Foo Festival Circuit with a dismal 51 out of 100 Metascore.
The far-left L.A. Times sums up the movie this way:
A phantasmagoric and surrealistic tour through the memories, dreams and existential anxieties of a famous Mexican journalist-turned-filmmaker named Silverio Gama (Daniel Giménez Cacho), “Bardo” represents above all a journey of personal exploration for Iñárritu. Named after the Buddhist concept of a limbo between death and rebirth, “Bardo” deconstructs the complex and fraught identity of a Mexican immigrant who, like Iñárritu himself, relocated his family to the United States for the sake of his career and achieved tremendous success, only to find himself feeling like a man without a country.
More than one critic, however, has described the 174-minute Bardo as pretentious, as Iñárritu‘s failed attempt at Fellini’s 8 1/2, which is what I thought Birdman was.
Speaking to the L.A. Times, Iñárritu has now blasted these critics as “racist.”
You can like [my movie] or not — that’s not the discussion. But for me, there’s a kind of racist undercurrent where because I’m Mexican, I’m pretentious. If you don’t understand something, you don’t need to blame anybody. Guys, take a little time and see all the layers.
Every artist has the right to express himself the way he wants without being accused of being self-indulgent. I hope somebody can turn down that narrative, which is very reductive and a little racist, I have to say.
Let me admit up front that I’ve been an Iñárritu fan going back to his amazing debut feature Amores Perros (2002), along with 21 Grams (2003) and The Revenant (2015). Believe it or not, I’m a fan of 8 1/2 and several 8 1/2-style movies where world-famous directors take us on an indulgent tour of their egos, fears, and hang-ups by surrogates. That includes Stardust Memories (1981), All That Jazz (1979), Persona (1966), Brazil (1985), and S.O.B. (1981).
But there’s nothing I love more than Iñárritu blasting woke critics as “racist.” He knows exactly which buttons to push to kill the “self-indulgent” narrative and ensure better reviews in the future.
He’s also giving these fascist critics a good, swift taste of their own fascist medicine. And woketard critics, like all leftists, are a bunch of racists, so it’s not as though he’s lying.
Seeing the left eat each other puts a spring in my step and a song in my heart.
Bardo arrives on Netflix December 16, and I’m hoping it’s an all-timer.
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