There are songs, stories, characters. You have to have a great cast and a director in the middle of things that can fall apart. We’ve seen the stage production process on-screen with documentaries like Every Little Step. The HBO’s Revolution Rent and the PBS’s Hamilton’s America. And Making Malinche now showing on Netflix, seemingly capturing the same thing.
It’s like a seed we planted in our heads since childhood:
That we’ve been conquered, lost, betrayed, it’s all that woman’s fault, said actress Melissa Barrera. It refers to the story of Malinche, Nacho Kano’s musical namesake. Which is an imaginary love story of Malinche. A Navajo slave often referred to as a traitor to help Spain conquer the Aztec Empire. And the conqueror, Hernan Representing Cortes.
Kano moved to Miami while working on Malinche and composed compositions at dawn. Putting his heart and soul into the project. He hopes to correct the misunderstanding of Malinche history and our perception of the Spaniards and Aztecs. Although the dangers of such romantic nostalgia arise in his mind. With the help of the historians, musicians, artists, actors, and others, we’ll get the complete picture of this version of the story. As well as the work Kano and all his collaborators did to bring Malinche to life.
Doing Malinche is a slogan. Although the film only appears for about 90 minutes. It spends so much time painting a beautiful picture of the music creator. Nacho Kano, that the story’s heart ends in Leiden. In honour of the film, I enjoyed seeing Malinche’s stage production, probably in large part. Because the lightning we got from him in the documentary was so over-produced. I can’t really help but wonder how he managed to do it in the form it was planned for looks like shape.
I wonder if Malinche is another case of some nasty stuff from the past being romanticized cover art:
Which isn’t all that surprising). Malinche’s story is certainly very much interesting. And the Making Malinche finds it suitable. When it allows historians to shed light on the importance of these characters in the spotlight. On the other hand, things drag on as Making Malinche appreciates himself; There are many horrible recordings of Kano on the piano or ripped guitar or whatever I have to play. Portraits of such artists are very tired and what makes the documentary interesting is what they all have in common. There he sings.
Making Malinche feels like a ’90s music video, with hockey transitions, slow motion, and odd angles. Perhaps the documentary will take a more solid stride in the hands of a more capable director. Still, it feels disconnected and confusing and almost forgotten when it decides to fall down a particular rabbit hole. If released 20 years ago, Making Malinche. Which might have been a great example of a behind-the-scenes music documentary, but 2021 doesn’t work. It was more like, “Look how amazing this guy is!” Rather than “That’s what music does to us!” Malinche may be a great musical, but you can’t make such an impression just because of this documentary.
While it’s really fun to watch the creative process of composing a piece of music. Making Malinche lacks the meaningful touch. That makes documentaries like Revolution Rent so touching and captivating.