‘Magellan’ Review: Gael Garcia Bernal Plays the Famous Explorer in Lav Diaz’s Exquisitely Shot Challenge of an Arthouse Epic

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If you find “Gael Garcia Bernal as Magellan” an exciting idea for a Netflix series, then you’re not familiar with the work of Lav Diaz, a Filipino auteur renowned for his slow-cinema masterpieces. On the international film festival circuit, his movies are recognized for their strikingly minimalist narratives and lengthy durations that can test one’s bladder endurance. His films are serious, highbrow dramas meant for a discerning audience – quite different from the fast-paced, easily digestible content typically found on streaming platforms.

Debuting at Cannes Film Festival, a venue that previously showcased Diaz’s critically acclaimed film “Norte, the End of History” in Un Certain Regard section back in 2013, the upcoming film titled “Magellan” (Magalhães) is not suitable for viewers who prefer their explorer narratives to be fast-paced and simplistic.

As a gamer, I must admit, this meticulously designed aspect could very well be one of the director’s most approachable pieces yet. It’s remarkably concise, running at just 160 minutes – a rarity in Diaz’s work, which typically exceeds that duration. However, what stands out most is its unfiltered portrayal of a character who revolutionized global exploration, shedding light on the tragic consequences of colonialism and its ongoing devastation.

In the movie’s initial scene, an indigenous woman exclaims, “I spotted a white man!” She is peacefully working near a serene rainforest river, reminiscent of the first appearance of the snake in the Garden of Eden – a biblical symbol that foreshadows the impact on tribes with unique religious beliefs. Just as the arrival of Europeans on undiscovered lands will bring about destruction, similar to the entrance of the snake in Eden, it will taint an innocent land, causing harm and transformation for the worse.

The initial scene unfolds during the Conquest of Malacca in 1511, a time when Magellan fought alongside Portuguese conquistador Afonso de Albuquerque. If you’re not well-versed in this turbulent era, Diaz might not provide sufficient clarity. Instead, he focuses more on portraying graphically the grim beginnings of colonial exploitation, showcasing its devastating impact on both sides. Magellan is not depicted as a hero or villain in his film, but rather as a daring capitalist amassing wealth from a global power struggle over land through war and pillage – truly reflecting the realities of guns, germs, and steel.

The story unfolds from the violent skirmishes in Malacca to Magellan’s death at the Battle of Mactan (Philippines), a decade later. This tale of conquest and destruction is vividly depicted through carefully arranged scenes, filmed from a stationary perspective, by director Diaz. Known for his monochrome work, Diaz collaborates with Artur Tort (credited as both co-cinematographer and co-editor) to capture vibrant hues of green, brown, and blue, revealing intricate textures in settings on both land and sea. The villages created by production designers Isabel Garcia and Allen Alzola appear so genuine that one could believe they have always existed, hidden within the jungle.

The visuals in this film seem reminiscent of 16th-century paintings, making it more about appreciating each frame than fully focusing on the story. Diaz tends to focus on the aftermath of battles, with numerous bodies strategically arranged on the ground, rather than the battles themselves. There are many dramatic events that transpire off-screen, though we do catch glimpses of crucial moments from Magellan’s final years, such as his choice to serve under the Spanish crown following the Portuguese’s rejection of his last voyage proposal, or his discovery leading to the unveiling of the Magellan Strait, a pathway to the South Pacific.

However, the drama may seem heavy and somewhat uneventful at times. It’s not that Gael García Bernal doesn’t excel in his role: Dressed in numerous voluminous shirts, he portrays a brave man with an enormous ego who endured hardships for his achievements, making the entire conquistador profession appear more exhausting than heroic. Yet, Diaz’s careful approach (he avoids cutting between scenes and there’s no music to enhance emotions) can create a sense of distance from the action. The most dramatic aspect of the film might be the longest and most agonizingly drawn-out sequence, which portrays Magellan’s prolonged, arduous journey (1519-1521) from Spain to the Spice Islands, during which many crew members perished.

However, while the hardships endured by the Spaniards and Portuguese may seem significant, they pale in contrast to the suffering experienced by the various tribespeople at the hands of Magellan and his crew. In the film, Enrique (Amado Arjay Babon), a native individual captured during Magellan’s time in Malacca, serves as another key character. Over the course of their shared adventures, Enrique transitions from his wild state to a more “civilized” one (using a term rooted in colonialism). As the story unfolds, we witness Enrique revert back to his original state once the tide shifts in the Philippines, liberated from European control.

Though “Magellan” is a film that caters to a niche audience, it subtly yet forcefully conveys a political message about the colonial psyche, echoing from past eras to the present day. When the conquistadors proclaim they fight for the extinction of Islam, aiming to outdo the Moors in expanding territory, this rings strikingly similar to rhetoric used by far-right commentators and officials in Europe today. Diaz’s movie may seem like a stunning artifact from the past — one that we view with some detachment — but there are instances where its stark realism serves as a sobering reminder of how effortlessly history can recur.

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2025-05-24 22:54