While fellow musical at the festival “The Swearing Jar” lives on hope, “Carmen” is a much more serious musical, and one that doesn’t feel like a musical in the traditional sense. There are about five or six songs throughout the film. It’s a unique project from “Black Swan” choreographer Benjamin Millepied, heavily featuring dance. These sequences are brought to life by electric choreography and a classic score by Nicholas Britell.
More dance than musical
There are many dance interludes within the film, and it’s easy to be in awe about the precision on display in the choreography, as they tell a story through movement. For myself, I don’t personally get emotionally moved by dancing, so that’s easily my disconnect from “Carmen.” Especially since one might expect a musical in the more traditional sense.
For that reason, “Carmen” is more of a technically strong film, with the talent and effort that goes into a project like this so evident. Melissa Barrera also gives it her all, shining in the role, both in her singing and choreography, and the emotional bonds she forges in the film, between romantic partner Aidan and family friend Masilda (Rossy de Palma), who gives the pair refuge in Los Angeles.
As for the actual musical scenes, they hit strong notes. The sound mix is all around very good, though Elsa Pataky’s one chance to sing as Gabriella is a bit louder than everything else and feels disconnected from the soundtrack. A scene towards the end of the film where we’re treated to some rap is a big highlight. Its choreography of brutality to the rawness and visceral energy that the specific singer brings to the scene is memorable.
