Carmen is an odd example of a filmmaker pulling off a difficult challenge, but disappointing in an area that’s within their wheelhouse.

Making his feature directorial debut, Black Swan dance choreographer and former New York City Ballet principal dancer Benjamin Millepied brings magic realism to a contemporary tragedy in Carmen.  Fantastical elements are interwoven fairly well in this story about a grieving immigrant (the titular woman played by Melissa Barrera of the recent Scream films) and a mentally unwell border guard (Aftersun’s Oscar nominated Paul Mescal) as they flee the cartel and the police to seek refuge. While on the run, the two fugitives form a closer bond with each other;  prompting new emotions and affection to open up which is occasionally represented through elements attributed to musicals.  As twee as that description may sound, the danger in the story is never watered down and neither are the performances by Berrera and Mescal.  Their chemistry and the intensity of the story suggests that Carmen would be a good pick on date night for couples looking for a substantial romantic drama.

Bafflingly enough, Carmen lets down its audience during its dance sequences.  The choreography, which was also created and taught by the director/co-writer, is framed in a way that throws the viewer into the numbers but also skews the perspective.  Instead of seeing the full range of these dancers, most of the movements are cropped and movie goers can’t see the full extent of the efforts of screen.  While Millepied may be well versed in dance, these sequences show that it’s not always easy to transition labours of love to another medium.

**********

Do You Tweet? Follow These Tweeple:

Addison Wylie: @AddisonWylie