The Art of Risk: Rodrigo Sorogoyen’s Experiment in Storytelling

Rodrigo Sorogoyen’s latest film, “The Beloved,” is a cinematic experiment that defies conventional boundaries and pushes the limits of storytelling. As the director himself admits, he took risks that might have been unthinkable for a first-time filmmaker, but were made possible by the trust of his producers and the freedom to explore new creative avenues.

Sorogoyen’s approach to filmmaking is refreshingly honest – he doesn’t set out to tackle specific themes or subjects, but instead discovers what his films are about as he writes and directs. This spontaneity is reflected in “The Beloved,” which was the freest written and directed of any of his films. The result is a movie that is at once a deeply personal exploration of toxic patriarchy and a meditation on the art of storytelling itself.

One of the most striking aspects of “The Beloved” is its use of multiple cinematographic styles, each reflecting different viewpoints or emotions. This deliberate choice represents the fragmented nature of memory and the subjective experience. Sorogoyen has said that he asked himself how to shoot a film about storytelling, and the answer was to do it in all the different ways possible.

This approach raises questions about the role of the filmmaker as storyteller. By employing multiple styles and formats, Sorogoyen is mirroring the process on screen – creating a kaleidoscope of images that reflects the complexity and multiplicity of human experience. The two main characters, Esteban and Emilia, are “storytellers” struggling to establish a common narrative about their relationship.

Sorogoyen’s experiment has a deeper significance – it speaks to our own struggles to make sense of the world around us. By embracing multiple perspectives and formats, Sorogoyen is inviting us to see ourselves as part of a larger narrative, one that is constantly evolving and shifting. This approach also raises questions about the director’s own intentions: Is “The Beloved” simply a film about toxic patriarchy, or is it something more nuanced?

Sorogoyen has said he didn’t set out to tackle specific subjects, but instead discovered what his films were about as he wrote and directed them. This spontaneity is both refreshing and unsettling – it leaves the audience with a sense of uncertainty and invites us to engage with the film on multiple levels.

As “The Beloved” premieres in Cannes competition, it’s worth considering Sorogoyen’s own trajectory as a director. He has been praised for his ability to capture the complexities of human relationships but also criticized for his willingness to take risks that might not pay off. This latest film is a testament to his commitment to creative experimentation and his trust in the process of discovery.

The success of “The Beloved” may depend on how audiences respond to its unconventional approach. Will it continue to push the boundaries of storytelling, or will Sorogoyen return to more conventional approaches? As he himself acknowledges, “The Beloved” is an experiment that might not have been possible without the full trust of his producers.

However, if Sorogoyen had taken a more traditional approach, would we be seeing a different film altogether? The director’s willingness to take risks has led him to create a cinematic experience that challenges us to think differently about the art of storytelling itself. As Sorogoyen so aptly puts it, “How am I going to shoot a film about storytelling?” The answer is clear – with multiple formats, styles, and perspectives, each one reflecting a different aspect of human experience.

The film’s complex narrative and cinematic experimentation are reminiscent of other works that have pushed the boundaries of storytelling. Alejandro Jodorowsky’s “El Topo” and Werner Herzog’s “Fitzcarraldo” come to mind as testaments to the power of creative risk-taking and the importance of exploring new frontiers in filmmaking.

In the end, “The Beloved” is not just a film about toxic patriarchy or the art of storytelling – it’s an invitation to engage with the complexities of human experience on multiple levels. It’s an experiment that challenges us to think differently about the medium itself and our place within it. As we watch this film unfold on screen, we are reminded of the power of cinema to transform, provoke, and inspire.