纪录片自媒体解说素材-新闻动态参考-“来自麦德林的男孩”评论：拉丁超级巨星J Balvin被拖入哥伦比亚政治，踢和沉思/‘The Boy From Medellín’ Review: Latin Superstar J Balvin Gets Dragged Into Colombian Politics, Kicking and Brooding
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0509/2539xt3oemqs5zm.png“来自麦德林的男孩”评论：拉丁超级巨星J Balvin被拖入哥伦比亚政治，踢和沉思
‘The Boy From Medellín’ Review: Latin Superstar J Balvin Gets Dragged Into Colombian Politics, Kicking and Brooding
即使是最不政治的艺术家也有责任在社会崩溃时找到并立场，还是在表面乐趣上始终骑行的流行音乐形式仍然可以成为一个非军事区？这些问题显然在2020年秋天面临所有侯爵夫人的演艺人员，即使足够长的时间可以驳斥他们。去年11月，当个人胜利的家乡体育场表演恰好与他的祖国哥伦比亚达到历史性动荡的闪点时，他们面对拉丁超级巨星J Balvin。这也与Balvin在演出前一周的纪录片船员之后相吻合，导致“来自麦德林的男孩”，这是亚马逊原创作品，表明雷鬼顿歌手被迫发展政治良心，无论他是否想要一个政治良心。如果您打算将“来自麦德林的男孩”放在流行歌手双重功能上，那么在某些方面与“ Americana小姐”（Tayl）或Swift的纪录片今年在圣丹斯（Sundance）首映，并看到那位超级巨星从壁橱里出来是一种政治动物，没有对某种共和党人失去的爱，其中包括特朗普。甚至在类似的场景中，我们看到明星讨论后果，因为“发送”即将受到命运的文字的打击，该文字解决了一个热门的社交主题。但是，至关重要的区别在于，尽管斯威夫特的一些团队试图说服她宣布立场，但巴尔文有关键人物希望说服他发表声明。他的最终conversion依可能是一个已定局的结论，但他甚至不会在没有太多踢脚和沉思的情况下暂时获得政治性。后者的质量自然而然地是巴尔文的：他是大胆的一件事，正如他的明星一样大胆的一件事已经兴起，是他自己的抑郁症，因为他也敦促球迷们照顾他们的心理健康。对于一个似乎不希望他的音乐除外的人S，巴尔文（Balvin）不在公众视野时，几乎都穿着一切，休息的脸色似乎与他作为拉丁音乐最重要的国际大使之一的地位不符。在环境中 - 他有更多的充分理由让一个人钟滴滴在体育场秀上，医生和精神科医生都出现在他的家中，以治疗焦虑症和喉炎。注射被放入（路易斯维顿塞）的臀部；讨论了药丸。当抗议者在街道上挤满右翼哥伦比亚总统伊万·杜克（IvánDuque）时，巴尔文（Balvin）似乎是唯一没有取消演出的艺人，他读了一些他最糟糕的社交媒体批评。所有这些坦率的意思是给人留下深刻的印象……实际上，直到一点点，它确实如此。问题是，如果Balvin实际上有转换体验，我们永远不会看到它，所以最后仍然不确定他是否真实莱（Ly）经历了任何启蒙运动的启蒙运动，需要解决他的国家正在发生的事情或最终这样做，因为这实际上是抵抗力最小的职业道路。这部电影中途的一个引人入胜的场景使他与记者会面，以宣传体育场表演，因为他对他的本质上是非政治的立场具有高度防御性，让您意识到他必须走多远才能达到任何顿悟。他对记者说的话有些“让他们吃蛋糕”的语气聋了，但是他一直在提出积分，至少应该讨论，即使是最轻便的艺人也有责任与最轻巧的艺人变得沉重社会评论的重量。无论如何，他邀请他最重要的媒体折磨者见面并听到他的劝告。而且，如果有一个Deus Ex Machina时刻，那是Mega-Manager Scooter Braun（电影中的执行制片人）出现在大型演出的前一天，以使他的客户欣喜地谈论如何如何伟大艺术家有责任说出来。导演马修·海尼曼（Matthew Heineman）似乎对这场演出似乎有些不足，因为即使是折磨的流行音乐摄影也有点像是一个狂欢，因为探索地狱的探索坑，从更明显的艰苦的作品中，例如“卡特尔土地”，“鬼城”和“私人战争”。因此，您可以想象，当哥伦比亚的动乱恰到好处时，他会如何照亮他，因为他出现在跟踪可能是一种更加凝视肚脐的故事的故事时。但是，即使他在银色盘子上递给了叙事弧线，这也是“麦德林”中的小小的个人时刻，也确实粘住了他的电影制作敏锐度。您从中记住的事情可能不是重要的事情，而是在他的四个小时的表演中脱颖而出的挑战期间的巴尔文撒尿，或者延迟他参加音乐会的出发，以确保他的每一个切换房子被关闭，因为他更深入某种强迫症/depressive preeh how funk。那个高潮的音乐会序列原来是节目中最不有趣的部分，因为在崇拜和嬉戏中，巴尔文（Balvin're思考：为此感到焦虑吗？这位明星可能已成为哥伦比亚社会意识的新化身，或者他可能只是掩盖了自己的屁股。无论哪种方式，都没有足够的证据来猜测。但是，如果这部电影可能是英雄启发的可能故事，那么在中间的时刻，它仍然很吸引人，因为对一个伙计的研究仍在研究野外公众之间的交叉点。成功和神经折磨。在某种程度上，它的中间和最佳部分实际上是一个政治的故事，即促使人们已经容易抑郁的人更深入地抑郁，这就是“来自梅德林的男孩”最及时的时候。
Do even the most apolitical artists have a responsibility to find and take a stand when society is crumbling, or should the forms of pop that have always ridden along on surface pleasures still be allowed to be a demilitarized zone? These are questions that clearly face all marquee American entertainers in the fall of 2020, if only long enough to dismiss them. They faced Latin superstar J Balvin in a bigger way last November when a personally triumphant hometown stadium show happened to coincide with his native Colombia reaching a flashpoint of historic turmoil. It also coincided with Balvin being followed by a documentary crew in the week before the gig, resulting in "The Boy From Medellín," an Amazon original that shows the reggaeton singer being forced to develop a political conscience, whether he wants one or not.
If you were going to put "The Boy From Medellin" on a pop-doc double feature, it's very much of a piece in some ways with "Miss Americana," the Taylor Swift documentary that premiered at Sundance this year and saw that superstar coming out of the closet as a political animal with no love lost for a certain breed of Republicans, Trump included. There are even similar scenes where we see the star discussing the ramifications as "send" is about to be hit on a fateful text addressing a hot-button social topic. The crucial difference, though, is that while some of Swift's team are trying to talk her out of declaring a stance, Balvin has key players wanting to talk him into making declarations. His final conversion may be a foregone conclusion, but he's not going to be pulled into getting political for even a moment without a lot of kicking and brooding.
The latter quality comes naturally to Balvin: One thing he has been bold about, as his star has risen, is his own depression, as he has urged his fans to take care of their mental health, too. For someone who seemingly doesn't want his music to be about anything but uplift and good times, Balvin wears just about everything heavily when he's out of public view, with a resting-worry-face that seems at odds with his status as one of Latin music's foremost international ambassadors.
He's perfectly open about being prone to panic attacks under the best of circumstances — and he develops more good reasons to have one as the clock ticks down to the stadium show, with physicians and psychiatrists alike showing up at his home to treat him for both anxiety and laryngitis. Injections are made into the (Louis Vitton-clothed) buttock; pills are discussed. As protesters fill the streets to rise up against right-wing Colombian president Iván Duque, and Balvin seems to be the only entertainer not canceling his gig, he reads some of his worst social media critiques aloud. All this candor is meant to impress ... and, actually, up to a point, it does.
The problem is that, if Balvin actually has a conversion experience, we never see it, so it remains uncertain at the end whether he's really experienced any kind of enlightenment about the need to address what's going on in his country or finally does so because it's actually the career path of least resistance. A fascinating scene midway through the film has him meeting with journalists to promote the stadium show, as he gets highly defensive about his essentially apolitical stance, letting you realize just how far he has to go to reach any epiphany. There's a bit of a "Let them eat cake" tone-deafness to what he says to the reporters, but he's making points all along that should at least be up for discussion, about whether it's incumbent on even the lightest entertainers to get heavy with the weight of social commentary. In any case, he invites one of his foremost media tormentors to meet up and hear out his exhortations. And if there's a deus ex machina moment, it's when mega-manager Scooter Braun (who is an executive producer on the film) shows up the day before the big show to give his client a pep talk about how it's the responsibility of great artists to speak out.
Director Matthew Heineman may seem a little overqualified for this gig, since even a tortured pop hagiography is a bit of a comedown, as exploring pits of hell goes, from more obviously grueling previous assignments like "Cartel Land," "City of Ghosts" and "A Private War." So you can imagine how he might've brightened when the unrest in Colombia was taking off right as he showed up to track what could have been a more navel-gazing kind of showbiz story. But even if he was handed a narrative arc on a silver platter, it's the little, personal moments in "Medellín" that really stick and show his filmmaking acumen. The things you remember from it may not be the important ones so much as the sight of Balvin peeing into a bottle during a costume-change break in his four-hour show, or delaying his departure for the concert to make sure every switch in his house is turned off, as he sinks deeper into some sort of OCD/depressive pre-show funk.
That climactic concert sequence turns out to be the least interesting part of the show, as, amid the adoration and frolic, Balvin takes a time-out to make a statement that is caring but not wildly controversial — and you're thinking: All that angst for this? The star may have become a new avatar of Colombian social consciousness, or he may have just covered his ass; there's insufficient evidence to really guess, either way.
But if the film falls short as a possible tale of heroic enlightenment, it's still pretty absorbing, in the in-between moments, as a study of a dude still working out the intersections between wild public success and neurotic torments. To the extent that its middle and best section is really a story of politics driving someone already prone to depression deeper into it, that's when "The Boy From Medellín" feels most timely.
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