FILM: Problemista

I thoroughly enjoyed Problemista, bringing cinematic magical realism to the story of a young Salvadoran man with big dreams navigating the Kafkaesque US immigration system chasing sponsorship in the New York City art world. The protagonist Alejandro (played by Julio Torres, who also wrote and directed), despite an endless barrage of obstacles, clings to the optimism instilled in him by his artist-architect mother, and never loses the literal bounce in his step. There are delightfully creative surreal touches, like the literal personifications of Craig’s List (fiendishly portrayed by Larry Owens) and Bank of America, and the imagery of Escher-like staircases, escalators, and office mazes, of hourglasses ticking down (Alejandro only has 1 month to find a new job when he unexpectedly gets laid off), and of other immigrants who just fade into thin air when the bureaucracy announces their time is up. And there are very real touches, like the claustrophobia of a Brooklyn apartment shared by too many roommates. And then there is Tilda Swinton playing a self-absorbed monster of an art critic who tantalizes Alejandro dangling the prospect of sponsorship if he can just do one more impossible thing. Every character is delightfully exaggerated, making light so that you can’t help but laugh, despite what is an unbearable situation. But Alejandro is an unsinkable rubber duck who will not be held down, propelled by force of will to an unexpectedly hopeful ending note. In the end, the film pulls of the trick of keeping heavy things light, keeping the viewer off-balance and delighted, but leaving you thinking about entitlement and privilege and wondering how we might make our system just a bit fairer for the people who have to engage with it.