Whatever its title may evoke, Colombian director Simón Mesa Soto’s “A Poet” plays more like a tall tale than a cinematic poem. The film, which won the jury prize at the Un Certain Regard section at the Cannes Film festival, is a hilarious fable about trying to lead a creative life and failing miserably at making ends meet. Its tone shifts from absurdist to serious to satirical and back again. This odd mix should not work, but Soto pulls it off with a sure hand and precisely exacting storytelling. That it succeeds in being both funny and poignant makes “A Poet” even more of an achievement.
Set in Medellín, the film follows Oscar Restrepo (Ubeimar Rios), a poet who published two books early in his adult life. Now in mid-life, he finds himself unemployed, divorced and living with his elderly mother. Soto’s portrait of this character is revealed through a few humorous scenes. He gets drunk and fights about who is the best of Colombian poets with his street friends. His sister nudges him to get a job and flagrantly tells him he’ll be homeless when their mother dies. His teenage daughter is embarrassed that he visited her at school.
He disastrously ruins an invitation to read his poetry at a cultural event by appearing drunk and going on a tirade about the futility of trying to lead an artist’s life. While laughing at all these shenanigans, the audience also poignantly gets to know Oscar as a lonely ne’er-do-well who loves the women in his life, and who operates according to his own moral compass. Though Oscar might be stubborn and uncompromising, he instinctively knows how his life should have gone. Pity he can’t make a living or keep a friend.
Enter Yurlady (Rebeca Andrade), a teenager Oscar meets when he takes a part-time job as a teacher in a high school. She is also a poet, or at least, she writes prose very well. Surprised by the clarity and beauty of her writing, Oscar takes Yurlady on as a mentee, trying to recover his past glory through her talent. However, coming from a poor family, Yurlady is more interested in finding ways to support her family. If poetry can be a way out of poverty, then she’s interested. Otherwise, she would rather spend her time painting her nails.
The satirical dimension of “A Poet” kicks in when Oscar finds Yurlady a position at a prestigious poetry school. The principals and investors behind that institution can’t get enough of Yurlady. They try to turn this Black girl from humble origins into their mascot, using her to generate publicity and donations. This satire of art institutions and the people who populate them rings true. Soto has an unflinching eye that exposes these poseurs: pretentious artists who act as mentors, art patrons who use their money and power to wield access and to play like they belong in the art world, white and foreign patrons who want to appear progressive by supporting the art of people of color.
However, within this sharp critique, Soto keeps his focus on the relationship developing between Yurlady and Oscar. They might not have what they thought they needed from each other, yet they still manage to form a connection. Yurlady isn’t interested in becoming a poet, and Oscar is a terrible mentor. He’s also the unluckiest man in the world; situations have a way of getting out of hand when he’s around. The push-pull of the protagonists’ bond keeps the film humming along, both in ludicrous and heartfelt moments. The balance between the two extremes is maintained throughout, resulting in an entertaining movie that also tenderly moves the audience.
Rios is so believable as Oscar, you’d think this film was a documentary of his life, not a scripted drama in which he’s acting a part. Rios uses his voice and distinctive facial expressions to reveal both the noble and the intolerable facets of Oscar’s personality. That both Rios and Andrade are nonprofessional actors shows Soto’s command of the substance of his film. Both actors have a natural presence in front of the camera.
Shot in grainy-hued 16mm by cinematographer Juan Sarmiento G., “A Poet” has a timeless look that emphasizes its heightened storytelling. Trio Ramberget and Matti Bye’s music tends to come in loud bursts that embellish the absurdity of proceedings, but can also be quietly affectionate as needed to tenderly move the audience. All of these elements work in tandem, resulting in a truly unique cinematic experience that levels up Soto. No stranger to Cannes, where he won a short film Palme d’Or in 2014 for “Leidi” and another prize at Critics’ Week for his 2021 feature debut “Amparo,” Soto delivers on the potential those accolades foretold.
