A review of Adolfo
that can’t talk sometimes says much more than conversations ever could. In
Adolfo, named after that very plant, Adolfo, the silent cactus, is our anchor
in this cute coming of age story. And yet it’s really more about Hugo and Momo,
their night, experiences and stories. From birthday parties to ex-boyfriends
and stolen radios to finally home, or simply to a bus station.
A chance meeting of Momo and Hugo, both of
whom actually have to go in different directions, develops as a road movie
within a place, presenting it not only in wonderfully oily-colored images, but
also weaving a sentimental coming-of-age story around it. Although, or maybe
because Adolfo is only 70 minutes short, this Mexican night always keeps
moving. And yet: not much of it really sticks. This is precisely the problem.
One that the film imposes on itself by its running time: Adolfo does take the
time to sufficiently address the problems of the young adults and this also has
an emotional effect, but not much really remains in the viewers mind. Events
and settings are ticked off too quickly for that. It’s like a series of short
vignettes – they work wonderfully individually, but put together they lack any
overall well-ordered motifs that really linger in one’s memory.
(https://www.berlinale.de/de/2023/programm/202301665.html#gallery_gallery-filmstills-1)However, I would deny that this is a big
problem at the end of the day. Adolfo is just too likeable for that, and the 70
minutes are definitely enough as an entertaining look into this one night of
growing up. Besides, this is all very nice to look at in the process: from Wes
Anderson-esque gathering shots or tropically planted rooftop terraces soaked in
white moon and yellow lantern light, this is definitely a well-organized and
very aesthetic Instagram account. As a lively visual, Adolfo is definitely
worth it + he’s just a really pretty cactus. But whether this is more than just
superficial in terms of substance is definitely debatable.
19.02.23, Yaron
