Battle in Heaven

There is a useful directness to Battle in Heaven, a crime drama shaped by Carlos Reygadas with a firm understanding of its audience. In Battle in Heaven, Marcos Hernández provides the anchor while Anapola Mushkadiz introduces a contrasting energy. Without revealing later complications, Battle in Heaven opens from this situation: Marcos lusts after his boss's promiscuous daughter, but after botching an extortion scheme, he becomes wracked with guilt. The resulting its 1h 38m running time feels most convincing whenever Battle in Heaven trusts behaviour more than explanation.

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The narrative of Battle in Heaven works from a simple but productive collision between Marcos and the central character. Through Marcos Hernández, Battle in Heaven keeps that premise rooted in a reaction the audience can understand. Carlos Reygadas introduces an important relationship at a useful point, giving Battle in Heaven a reason to change pace without abandoning its emotional line. The handling of a difficult choice is not equally fresh, yet Battle in Heaven usually earns attention through clarity rather than surprise alone.

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As director of Battle in Heaven, Carlos Reygadas proves alive in individual scenes and uncertain between them in the transitions between intimate material and larger demands. A strong scene in Battle in Heaven often begins with a modest detail before Carlos Reygadas lets its meaning expand. For Battle in Heaven, the cast and craft keep the experience watchable because the central tone remains visible even during busy passages. The weakness in Battle in Heaven is that too many scenes explain effects the actors have already suggested, although Carlos Reygadas usually finds the original rhythm again.

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Performance is the clearest human asset in Battle in Heaven, beginning with the committed centre provided by Marcos Hernández. Anapola Mushkadiz keeps Battle in Heaven from settling into one emotional register by approaching the material from another angle. The presence of Bertha Ruiz gives the surrounding world of Battle in Heaven additional texture without distracting from the main line. When Carlos Reygadas holds on a reaction, Battle in Heaven communicates more efficiently than another explanatory exchange could manage.

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Battle in Heaven gains much of its identity from a pace shaped by consequence, a choice that makes the world readable as well as attractive. The contribution of Coproduction Office allows Battle in Heaven to combine a pace shaped by consequence with a consistent visual language. Within its Mexico setting, Battle in Heaven makes particularly good use of careful ensemble blocking when the story needs to change scale. Sound and editing preserve the personality of Battle in Heaven by supporting detail instead of announcing every intended response.

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Battle in Heaven uses its crime drama framework to consider loyalty, ambition and the damage caused by an apparently small compromise. For the character played by Marcos Hernández, that idea gives Battle in Heaven stakes beyond the next immediate obstacle. The recurring pressure of the central character prevents the theme in Battle in Heaven from feeling like decoration added after the story. Carlos Reygadas makes Battle in Heaven more thoughtful whenever the implications remain inside action and reaction.

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Overall, Battle in Heaven amounts to an uneven film with enough personality to remain interesting and should suit crime drama viewers interested in difficult choices and damaged trust. The combination of Marcos Hernández, Carlos Reygadas and a pace shaped by consequence gives Battle in Heaven a specific identity. Although too many scenes explain effects the actors have already suggested in Battle in Heaven, the film recovers through craft and committed performance. For the audience it understands, Battle in Heaven offers enough character to remain worthwhile after the immediate plot has faded.