Julio Torres, famously known for his quirky performances on "Saturday Night Live" and peculiar horror comedy series “Los Espookys,” now showcases his unique mix of humor, surrealism, and design aesthetic in his film debut, "Problemista." Torres, both the scripwriter and director of the film, stars as Alejandro, a Salvadoran young man aspiring to make a career out of crafting toys in the fiercely competitive New York City.
While Alejandro aims high with whimsical ideas for Barbies to Slinkys and Cabbage Patch Dolls on social media, he also contends with the labyrinth-like US immigration system. A reflection of Torres' personal experience, Alejandro's character exhibits an understated authenticity amid the restraints of the real world, even while amidst absurdity. His mild-mannered demeanor is heightened when confronted by Elizabeth (Tilda Swinton), a formidable art critic and widow to the frozen artist Bobby (RZA), whom Alejandro is assigned to at a cryogenics facility geared towards artists.
Elizabeth, witty and relentless, is a notoriously difficult personality, known for making foes more often than friends and being merciless to those not in her good books. Paradoxically, she strikes a rapport with Alejandro, who seizes the opportunity to assist her in curating her late husband's art exhibit in hopes of visa sponsorship. Swinton's fiery performance, further dramatized by a magenta wig, stands in stark contrast to the introverted and observant Alejandro. Over time, Alejandro finds himself empathizing with Elizabeth, appreciating her fiery spirit and understanding her unlike anyone else, mirroring the heroine's paradox in "Beauty and the Beast."
Adding another dimension to the story is Alejandro’s supportive mother, Dolores (Catalina Saavedra), whose encouraging presence serves as Alejandro's grounding influence back in El Salvador. The bond they share is beyond familial; it's creatively inspiring. Her role is reminiscent of Torres’ real-life mother, who, as an architect and fashion designer, significantly influenced his work.
Torres' "Problemista" could be likened to a modern-day, surrealistic fable, echoing classics like Jacques Tati's “PlayTime” and Luis Buñuel’s “The Discreet Charm of the Bourgeoisie.” The film imagines a world of immigrants competing against time for their right to stay in the country, ensnared in a metaphysical escape room of visa issues and misleading job offers. For all its absurdity, "Problemista" remains accessible to newcomers, but those familiar with Torres' previous work will appreciate subtle callbacks. The film insists on embracing the whimsical and the absurd, or risk the wrath of a character like Elizabeth with no joy offering relief.
