TRIBECA 2022 | MOVIE REVIEW: "Official Competition" And The Clash of Three Big Egos
11/12 ForReel Score | 4.5/5 Stars
Arrogance and ego are somewhat very typical obstacles that one must deal with when working in the arts, especially in the film industry. Spain's latest satirical comedy, Official Competition is an intelligent parody of the chaotic nature between producers, directors, and actors. The film gazes into the definition of film and contests art versus performative entertainment.
Fearing being forgotten in death, wealthy businessman Humberto Suárez (José Luis Gómez, Broken Embraces) decides to fund an arthouse film, spending a fortune optioning a Nobel Prize winning book - one he hasn’t even read in fact - because he believes it to be the best. His major concern is an undying legacy, thus leading erratic but beloved director Lola Cuevas (Penélope Cruz, Volver) to take full artistic control, casting opposing actors Félix Rivero (Antonio Banderas, Pain and Glory) and Iván Torres (Oscar Martínez, Empty Nest) in hopes of bringing an extra level of tension to the screen.
Official Competition is sensational; writer/directors Mariano Cohn and Gastón Duprat display deadpan comedy at its finest and keep well measured control over the film’s tone. It knows when to lean into the suspense and drama, but not so much that it alienates from the comedy. The dynamic between these three artists, who would have never been brought together without the help of this pompous businessman, is tantalizingly entertaining. None of them can quite stand each other, but the faith in the film’s success is what keeps things held together. The film’s ending was tad underwhelming and less sophisticated than it plays itself off to be, but the buildup and performances are undeniably excellent.
Penélope Cruz is the shining star of the production. She plays into Lola’s screwball persona blissfully. She’s bombastic and intense, but also showcases reservation at times. Cruz continually keeps the audience guessing, never letting them fully see nor understand her character, forcing the viewers to question if she is truly an auteur or just a spatstic hack. Scenes of her on display - destroying prestigious awards and forcing the actors to watch as she instigates in overindulged intimacy - paint a very different picture of than her more personal one-on-ones. Her extreme methods are all in part to strip the actors of their egos; to bring their inner truths to the surface. But in reality, it unleashes the worst in them.
Characters Iván Torres and Félix Rivero are both acclaimed actors in their own right, but they belong to different worlds. Iván is a highly-respected prestigious actor, while Félix has more of an easily digestible approach that profits off of more straightforward entertainment. Their inherent rivalry would be nothing without Martínez and Banderas’s performances. They lean into their character’s stereotypes, especially Antonio Banderas who capitalizes on Félix’s diva nature. It’s unexpected to see him commit to amplified childish meltdowns, but it’s so enjoyable to witness. Instead of finding satisfaction in the work of being an actor, Félix equates awards to success, making his motivations to be more self-serving. Iván tries to act as though he’s above his prima donna costar, but really, they’re two sides of the same coin. His disdain for Félix stems from what he despises about himself. Oscar Martínez’s performance enlightens such deep self hatred and goes to show that even the most “intellectual” and “profound” artists are just as human. He dives into what turned Iván into this hapring snobb, even showcasing brief tares in his armor. Together Martínez and Banderas find humor and sympathism for their unbearable characters.
Official Competition is not your typical comedy, as it leans more into darkness and absurdity, but for film lovers, it's highly self-aware take on the industry is masterfully entertaining and utterly hysterical. The satire is brought to extreme highs thanks to the imaginative writers, directors, and actors. Official Competition begs to be seen in a crowded theater, surrounded by audiences that will help feed into the film’s performative nature. Though cartoonish at times, it speaks volumes on many filmmakers' apparent hedonistic qualities while presenting some of the most comical sequences we’ll see in theaters this year.
Acting and Casting - 2 | Visual Effects and Editing - 1 | Story and Message - 2 | Entertainment Value - 2 | Music Score and Soundtrack - 2 | Reviewer's Preference -2 | What does this mean?