Dalíland isn’t your typical biopic where the viewer walks away with specific details about the subject’s life and career – in this case, artist Salvador Dalí (played splendidly by Sir Ben Kingsley).  Although there are biographical scenes in Mary Harron’s movie, it boils down to a story about ego and how other people react to it.  In that respect, it kind of works on a similar frequency as Harron’s American Psycho, except far less bloody and more “extravagant”.

“Extravagant” referring to the parties featured in Dalíland, and other behind-the-scenes behaviour witnessed by gallery assistant James (Christopher Briney).  James has been assigned to keep an eye on Dalí and make sure he’s producing enough art for an upcoming show.  Dalí brings him into the fold and, soon, James realizes the dysfunctional relationship Dali has with his craft and to his wife Gala (Barbara Sukowa).  As his muse and partner, Gala inspires Dalí – sometimes in the most unusual ways.

If you compare Dalíland to, let’s say, the bombastically conceited biopic Spinning Gold, it’s easy to see why the former is superior.  Lately, it’s been so boring to watch a movie pump up its subject and paint them as wonderfully as possible.  Whereas down-to-earth Dalíland often exposes the artist’s clumsier moments, showing that creating art and loving life can be just as much fun as it can be messy.  However, with the inclusion of flashbacks featuring a younger Salvador and Gala (their enigmatic and oddball relationship fittingly portrayed by controversial actor Ezra Miller and Avital Lvova), the movie eventually changes its mind and decides to be more informational;  making Dalíland more dramatized and regimented than it should be.

I still enjoyed my trip through Dalíland despite its contrasting choices, and I’m anticipating my next visit.

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Addison Wylie: @AddisonWylie