By Jonathan Monovich.
Writer-director-star Julio Torres cleverly compares the one-month countdown for finding work visa sponsorship to both an hour glass running out of sand and a never-ending maze…. Problemista‘s tone possesses a childlike innocence, which works quite well in contrasting serious subject matter.”
Slinkys that refuse to fall down stairs, trucks with tires that intentionally deflate over time, and concerned cabbage patch dolls with smartphones—these are some of Alejandro’s (Julio Torres, who also wrote and directed) many peculiar toy pitches in Problemista (2023). Symbolizing the importance of multistep journeys, the inevitability of mortality, and neuroses that come with the complexity of life, Alejandro’s imaginative, yet morbid, ideas offer a glimpse into a young mind reminded of harsh reality. With aspirations to become a toy designer, Alejandro unsuccessfully applies to Hasbro’s talent incubator program. In the meantime, he daydreams of a better life while working for a strange cryogenics company. Freeze Corp., Alejandro’s reluctant employer, simultaneously houses the frozen body of a struggling painter—Bobby Asencio (RZA). The subjects of Asencio’s paintings are eggs; some of the eggs are shy, some are intellectual, and all amusingly possess unique backdrops like George Rodrigue’s Blue Dog series. Asencio’s wife, Elizabeth (Tilda Swinton), is a misunderstood art critic. Channeling RZA’s real life Zen mastery, Asencio remains calm even after a terminal cancer diagnosis for he is confident that he will awaken in the future when unfrozen. Opposites attract in the case of Problemista as Elizabeth’s fiery personality is frequently visualized with mythical and monstrous qualities to comic effect. They are a perfect pair of outcasts longing for acceptance.
When Alejandro is fired from Freeze Corp. for a near mishap, keyword near, he and Elizabeth bond over their shared disapproval of the company’s management. Alejandro’s unemployment raises the film’s central problem of his pending deportation to El Salvador. Torres cleverly compares the one-month countdown for finding work visa sponsorship to both an hour glass running out of sand and a never-ending maze. The latter makes for some of the most impressive shots of the film. A diorama-like structure is presented in a style similar to Wes Anderson’s dissection of the Belafonte submarine in The Life Aquatic with Steve Zissou (2004). With Elizabeth’s life defined by disorder, she calls upon Alejandro to help organize her husband’s artwork and curate a show to bring light to Asencio’s eggs of varying moods and colors. This is no easy task, given Elizabeth’s tenacity and Alejandro’s comparative timidity. High strung, easily annoyed, and banned from Uber, Elizabeth earns the nickname “the hydra.” Alejandro’s tumultuously comedic journey to tame the beast that is “the hydra” and secure sponsorship to stay in New York makes for a smart setup.
Torres’ film suggests that memories and parental love will always provide reassurance even in life’s most challenging moments.”
Creative cinematography by Fredrik Wenzel (Triangle of Sadness [2022], We are Who We Are [2020], The Square [2017]) and set design from Katie Byron (The Curse [2023-2024], Don’t Worry Darling [2022], C’mon C’mon [2021]) paired with Torres’ clear vision make for a rare authorial first film. Following work as a writer for Saturday Night Live (2016-2021) and the similarly eccentric Los Espookys (2018-2022), Torres makes a seamless transition to cinema. His style is certainly distinct and thrives on awkward absurdity akin to Jared Hess’ filmography, Fred Armisen’s hipster humor of Portlandia (2011-2018), and playful attention to vibrant colors like Pedro Almodóvar. Problemista‘s tone possesses a childlike innocence, which works quite well in contrasting serious subject matter. To effectively illustrate Alejandro’s anxiety, quick cuts to distracting close-ups paired with unsettling sounds are employed. This tactic is used on multiple occasions as Alejandro grapples with Elizabeth’s frequent outbursts and refusal to abandon her Filmmaker Pro database software despite its many unknowns. Per usual, Swinton adds yet another unconventional character to her eclectic career. Torres’ performance as Alejandro can best be surmised as soft-spoken and harmless. He is young at heart, making him the ideal candidate for toy design. Like the toys he envisions, he confronts adversity but never leaves his youthful instincts behind. Though intentionally subtle in his delivery, Torres’ acting has not yet developed to the level of his visionary qualities as a filmmaker. Regardless, Problemista is a promising debut and another hit for A24.
The colors of Problemista are eye-popping and deliberate; surrounded by muted walls in Alejandro’s apartment and city streets lined with garbage bags, he and Elizabeth bring life to the dull backdrops of immigration offices, cryogenics facilities, and generally uninviting settings. Elizabeth’s hair is pink and her clothes come in bright shades of purple, green, and blue. Though Alejandro’s wardrobe is comparatively simple and his voice relatively flat, his mind is filled with colors equally as bright. His character, like Torres, is a true creative with foresight and until now did not have the chance to fully express himself. Though Alejandro’s circumstances become quite dark at times, his dreams are too powerful to fall before life’s obstacles.
Problemista’s story is tied together with the fairytale-like narration of Isabella Rossellini, frequenting back to Alejandro’s inventive childhood and his unbreakable bond with his similarly artistic mother (Catalina Saavedra). Though separated by thousands of miles between El Salvador and America, there is a great connection between Alejandro and his mother. Their creativity is interrelated and their minds feed off of each other. Viewers will likely leave reminiscing and will likely be reminded of joyous childhood memories spent imagining carefree worlds. No matter what, Torres’ film suggests that these memories and parental love will always provide reassurance even in life’s most challenging moments. Like Alejandro’s Slinkys that refuse to fall down stairs, Problemista demonstrates that life is to be taken step by step. Furthermore, with persistence and time, dreams do come true.
Problemista is exclusively in theaters, starting March 22nd, via A24.
Jonathan Monovich is a Chicago-based writer and Image Editor for Film International, where he regularly contributes. His writing has also been featured in Film Matters, Bright Lights Film Journal, and PopMatters.