“Problemista” Review
Julio Torres (Left) and Tilda Swinton play two creatives and outcasts trying to find their way in “Problemista”, the arthouse directorial debut from Torres.
The pursuit of one’s dreams in a cold and unforgiving world is the basis for many great stories because it’s such a common piece of the human condition. For many of us, survival isn’t enough. We want to live. Through the eyes of comedian, writer and now filmmaker Julio Torres, he has presented this common story with the dazzling spectacle of a proper surrealist in A24’s latest indie darling “Problemista”. With a strong vision, excellent comedy and this massive sense of heart, “Problemista” is an engaging film that I hope launches more stories from Torres.
In New York City, Alejandro Martinez (Julio Torres) is an Salvadoran immigrant who wants to be accepted into Hasbro’s program for aspiring toy designers. To keep a roof over his head, he works as the caretaker for an artist named Bobby (RZA) who has been cryogenically frozen until a cure can be found for his disease. After being fired from this job and risking deportation in 30 days unless he can find a sponsor, Alejandro meets Bobby’s borderline crazy wife Elizabeth (Tilda Swinton) and offers to put up with her crazy antics and to put on an exhibition of Bobby’s paintings in exchange for sponsorship. With the clock ticking and egos flying, Alejandro and Elizabeth must navigate this crazy, backwards world in order to make both of their dreams reality.
As the film’s writer, director, producer and lead actor, Julio Torres has made something that feels insanely passionate. His performance as Alejandro feels relatable as he feels small and helpless in New York and has to develop this self-possession to thrive in the environment. According to Torres, the reason why he chose “Problemista” as the title is because a problemista is someone who creates problems or thrives in problems. Alejandro is most definitely that person because, despite being faced with these hug challenges to his dream and often feeling tired or scared, he doesn’t back down and there’s a lot to admire from the sincere performance that Torres gives. As a Salvadoran immigrant who moved to New York in the pursuit of his creative dreams, it’s obvious that Torres is venturing into autobiographical territory with “Problemista” and it’s through this personal connection that the film really works.
Tilda Swinton is, once again, mesmerizing as Elizabeth, an outcast in the art world who sees this exhibition as her husband’s work as the last chance to recover a shred of respect. Elizabeth’s manic nature is of perfect contrast to Alejandro’s meek demeanor. I love the connection between Torres and Swinton because, while she’s obviously mad and oblivious, Alejandro understands her desire for her husband’s work to be seen. This dream resonates with his own ambitions and, despite having to endure her excessive personality, he welcomes the challenges that befall him. In this regard, “Problemista” isn’t just a motivating story, it’s a sweet one as well.
Throughout the film, Torres’ knack for surreal comedy is in full-force with so many imaginative visuals and well-written pieces of dialogue. Torres takes concepts an extra step further and it not only gives “Problemista” a stronger identity but it also brings out the laughter from the audience. When Alejandro is on a crazy phone call with Elizabeth, he doesn’t just imagine her in the same room as him. He imagines that they’re both in this dark cave with red lights as she’s dressed in a costume that makes her look like a hydra. In another creative choice, Torres depicts what it’s like for an immigrant to risk losing their visa by showing every immigrant has an hourglass. When their visa expires, they don’t just get deported. They disappear and it heightens the stakes as well as makes a creative statement about the pressures that newcomers to America are facing.
Throughout the film, there’s this underlying passion that can only come from an original, driven source with something good to say. There is a refreshing tone to “Problemista” that I’m sure will resonate with the kind of arthouse audience that frequents A24 film screenings as well as mainstream viewers who are curious about what’s going on in the smaller theater that’s nestled between the larger ones that are playing studio blockbusters. It’s an energizing, infectious fun trip that I hope gets attention. I also hope that this directorial debut is just the beginning for Torres as a filmmaker.
