Exploring the Unconventional: Stillz’s “Barrio Triste” and the Future of EDGLRD

In the ever-evolving landscape of cinema, Harmony Korine’s tech and filmmaking studio, EDGLRD, has emerged as a provocative force. Known for its experimental approach, the studio has produced two notable features under Korine’s direction: the surreal techno dance film “Aggro Dr1ft” and the first-person shooter-inspired “Baby Invasion.” Both films challenge traditional narrative structures, presenting a voyeuristic experience that leaves audiences grappling with their own engagement. Now, Colombian-American photographer Stillz steps into the spotlight with his feature debut, “Barrio Triste,” a film that aims to redefine the medium while maintaining the studio’s avant-garde ethos.

A New Narrative Approach

“Barrio Triste,” which premiered in the Venice Horizons section before making its way to the Toronto International Film Festival (TIFF), marks a significant departure from Korine’s previous works. While it retains the experimental flair characteristic of EDGLRD, it leans more heavily into narrative structure. The film is set against the backdrop of 1980s Medellín, a city grappling with rampant crime and the eerie possibility of extraterrestrial encounters. This quasi-found-footage horror film feels more like an art installation than a conventional movie, inviting viewers to engage with it on a different level.

The film opens with a newscaster reporting on mysterious lights falling from the sky, accompanied by a metallic sound. This unsettling premise quickly spirals into chaos as a group of teenage thieves hijacks the broadcast, stealing the camera to document their own criminal exploits. The narrative unfolds in a frenetic style, capturing the lawlessness of Colombian street life through a raw, unfiltered lens.

The Aesthetic of “Barrio Triste”

Stillz, who also serves as the cinematographer and writer, employs a lo-fi aesthetic reminiscent of early found-footage horror films. The pixellated image quality often obscures the action, leaving viewers to question whether they are witnessing a deliberate artistic choice or a technical limitation. This ambiguity adds to the film’s hypnotic quality, enhanced by a haunting score from Barcelona-based electronic musician Arca. The music oscillates between serene and jarring, creating an atmosphere that lulls the audience into a trance-like state, reminiscent of the disorienting experiences found in Korine’s works.

The 1980s setting is particularly poignant for Stillz, who draws from personal memories and stories of Medellín’s tumultuous past. However, the film intentionally lacks contextual depth, leaving viewers to navigate the chaotic narrative without a clear understanding of the socio-political landscape that shaped the era. This absence of context may frustrate some, but it aligns with the film’s experimental nature.

A Fragmented Narrative

As the film progresses, the narrative becomes increasingly fragmented. The initial tension of the jewelry store heist, underscored by Arca’s ominous score, gives way to a series of disjointed scenes that lack a cohesive storyline. A climactic moment occurs when the cameraman ascends a graffiti-laden apartment building, echoing the iconic descent in “The Blair Witch Project.” However, the payoff is less chilling, leaving viewers yearning for a more substantial resolution.

The film’s exploration of crime and potential alien abduction creates a unique juxtaposition, yet the threads never fully coalesce. On-camera interviews with the teenage criminals offer little emotional resonance, leaving the audience without a solid anchor in the narrative. This disconnection may be intentional, reflecting the chaotic reality of life in Medellín during a time of upheaval.

The Future of EDGLRD

EDGLRD’s approach to filmmaking appears to be a work in progress, with “Barrio Triste” serving as a test case for the studio’s evolving vision. The intermingling of crime and supernatural elements hints at a broader narrative universe that could be expanded into other formats, such as virtual reality or video games. However, the film’s lack of a clear narrative arc raises questions about the studio’s direction and the effectiveness of its experimental approach.

Despite its shortcomings, “Barrio Triste” captures a certain beauty in its rawness. The film feels like a half-formed idea, a glimpse into a larger concept that has yet to fully materialize. Stillz’s debut may not provide the satisfying conclusion some viewers seek, but it undoubtedly opens the door for future explorations within the EDGLRD framework.

Conclusion

“Barrio Triste” stands as a testament to the innovative spirit of EDGLRD and its commitment to pushing the boundaries of traditional filmmaking. While the film may not resonate with all audiences, it invites viewers to engage with cinema in a new way, challenging them to confront their expectations. As Stillz continues to develop his voice as a filmmaker, the potential for future projects within the EDGLRD universe remains tantalizingly open. The film’s premiere at prestigious festivals like Venice and TIFF signals a growing interest in experimental narratives, suggesting that the future of cinema may lie in the hands of those willing to take risks and redefine the medium.