This review originally ran in conjunction with the world premiere of “Dos Estaciones” at the 2022 Sundance Film Festival.
Globalization can easily obscure the fact that a beautiful place with a rich history, hardworking people and a precious resource is as much someone’s home as it is an outsider’s opportunity.
What Mexican filmmaker Juan Pablo González would like viewers to think about after seeing his melancholically picturesque “Dos Estaciones” is that the next time you bolt down some multinational conglomerate’s new celebrity-marketed, substandard tequila, there’s a local — like González’ factory-owning protagonist — in an ever-deepening despondency about the slipping away of a long-cherished culture.
This is González’s first narrative feature after establishing his meditative style in a handful of documentaries (including “Caballerango”), and it’s a hybrid of story, regional verisimilitude and personal knowledge. (The director comes from a family of tequila makers.) But while “Dos Estaciones...
Globalization can easily obscure the fact that a beautiful place with a rich history, hardworking people and a precious resource is as much someone’s home as it is an outsider’s opportunity.
What Mexican filmmaker Juan Pablo González would like viewers to think about after seeing his melancholically picturesque “Dos Estaciones” is that the next time you bolt down some multinational conglomerate’s new celebrity-marketed, substandard tequila, there’s a local — like González’ factory-owning protagonist — in an ever-deepening despondency about the slipping away of a long-cherished culture.
This is González’s first narrative feature after establishing his meditative style in a handful of documentaries (including “Caballerango”), and it’s a hybrid of story, regional verisimilitude and personal knowledge. (The director comes from a family of tequila makers.) But while “Dos Estaciones...
- 9/16/2022
- by Robert Abele
- The Wrap
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