‘Problemista’ weaves witty realism and sparkling fantasy
Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.
The central conflict of “Problemista” is deeply serious: After being fired over a trivial error, aspiring toy designer Alejandro races against time to secure a new sponsor for his work visa. Desperate, he takes a position as an assistant to the exacting and explosive Elizabeth, played by Tilda Swinton. Yet the way director and producer Julio Torres tells the story is anything but grim.
Alejandro, played by Torres, is instantly endearing. He is refreshingly direct and unselfconscious, but never unkind, seeing straight through the bureaucratic trappings of modern life while maintaining a pragmatic optimism.
Yet the character is also delightfully whimsical. One lock of Alejandro’s hair stands straight up like a cartoon character, and his characteristic bouncy walk is reminiscent of a wind-up toy. His mellow demeanor contrasts excellently with Swinton’s stiff movement, stark appearance and almost-constant expression of bewildered outrage.
The film employs whimsy in its storytelling as well. Alejandro’s one-month deadline to secure a new sponsor is measured by a storybook-like hourglass bearing his name, and the infuriatingly complex immigration process he must navigate is represented by a gravity-defying journey through ascending rooms floating in the ether.
Unable to work for pay until Elizabeth officially agrees to sponsor him, Alejandro turns to Craigslist — brought to life as its own character played by a theatrical Larry Owens, who fans will recognize from his role as Zach in the television series “Abbott Elementary.” With each query, Alejandro is transported into Craigslist’s dark, sparkling realm, and each gig is presented as an Ursula-esque deal with a dark and powerful force.
Torres is best-known as a comedian, whose credits include writing for SNL and co-creating and acting in the comedy series “Los Espookys,” which similarly combines fantastical proceedings with a harshly realistic sensibility. His talent as a comedic performer is a key factor in the film’s success, with the slightest intonation and facial expression adding delicious tension to what could have otherwise been a boring scene.
Though the writing here is more thought-provoking incongruity than constant chuckles, viewers can enjoy a few laugh-out-loud moments. One of Alejandro’s pitches to his dream toy company are cell phones for Cabbage Patch dolls; in his signature deadpan, Torres tells us that one such doll is shocked another Venmo requested her for sushi they grabbed a week ago.
Torres does once let the curtain of comedy fall. In one disturbing and heartbreaking scene, Alejandro faces an exploitative Craigslist gig during which he can’t keep up his happy-go-lucky attitude. While it hurt to watch, I understand Torres’s desire to include a moment of pain without the usual accompaniment of humor to shield our hearts from his character’s discomfort.
The scene hits so hard in part because, on the whole, we do not see Alejandro suffering in earnest. While so many stories centering immigrant experiences are steeped in realism, tragedy and isolation, Torres dares to imagine another path. Alejandro’s world gleams with color and imagination, and he finds mutual connection with even the thorniest of characters. Though Alejandro faces constant challenges, he deftly navigates both the fantastical and the ordinary.
Another one of the film’s strengths is in its faithful portrayal and sharp criticism of modern work culture. Alejandro’s first workplace coats their brutal firing of him in meaningless corporate niceties that he cuts through with satisfying ease. He later jumps from gig to gig, and – in a favorite storyline of mine – pretends to know a needlessly complicated web program, FileMakerPro, in order to land his assistant position. We later instantly empathize with Alejandro in his rivalry with Elizabeth’s new intern, a New York nepo baby who threatens to win over Elizabeth with his charm and his access to a car.
The film’s ending sequence is revelatory, leaving me feeling equal parts energized and emotional. The masterfully-performed scene lives up to the lofty expectations set by an hour and 44 minutes of inventive cinema that strays boldly from the trappings of the traditional comedy or drama genres. This is a truly original film you don’t want to miss.
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