‘Rains Over Babel’ Review: This Tropical, Queer Riff on Dante’s Inferno Is a Dazzling, Daring Provocation

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As a cinephile, I must say that Gala del Sol’s “Rains Over Babel” is brimming with unforgettable, zany scenes. This movie takes a playful spin on Dante’s “Inferno,” transporting us to a mesmerizing retrofuturistic vision of Cali, Colombia – a city reinterpreted as Purgatory through the lens of queer exuberance, magical realism, and a hint of ’90s punk. The tropical backdrop serves as the stage for an ancient story where life and death are staked in dice games. Drag queens and demons stride with equal confidence through neon-lit bars. Casual kung fu fights erupt amidst BDSM clubs. Bold and bizarre, Gala del Sol’s eccentrically crafted film is a wild, maximalist triumph if you allow yourself to be swept away by its charms.

Colombia, in the collective world’s perception, has been portrayed through two contrasting yet possibly interconnected perspectives over time. One side presents Colombia as a country marred by violence from guerrillas, the state, hitmen, and drug traffickers, leading filmmakers to depict grim and somber narratives centered around death. The other side emphasizes Colombia’s stunning natural beauty and its potential for inspiring magical realism, offering escapist fantasies that provide solace in confronting the harsh reality of its violent past. In “Rains of Babel,” del Sol skillfully merges these two aspects, using them as sparks to ignite a fiery blend of storytelling. The omnipresent specter of death, so prevalent in Colombian narratives, becomes an opportunity to craft a dazzling film that showcases the extraordinary measures a motley crew will take to evade their inevitable encounter with Death herself.

The central figure in this city’s dark tale is Saray Rebolledo, portrayed as a cunning and alluring Black woman who frequents a seedy bar named Babel. She is the enigmatic centerpiece of a complex narrative that entwines a speaking salamander, a deceased poet, an emerging drag queen, a missing band leader, two star-crossed lovers, and a secretive apothecary who works as a bartender at Babel while subtly observing the events unfold. Though it is Santiago Pineda, adorned with vibrant nails, heavy eyeliner, and matching jewelry, who initially introduces us to this vivid world of Sol’s creation, it is Felipe Aguilar Rodríguez, with his smoky eyes and stylish patterned fade, who triggers the storyline. The day we encounter him marks the end of his service to Saray Rebolledo, a job that has consumed him for decades, leaving behind the mystery of his own past and identity.

In Dante’s day, he meets several characters like Johan Zapata as Monet, a deceased poet struggling to leave this world, and John Alex Castillo as Gian Salai, who’s trying to keep loan sharks away from him by relying on his son Timbí. However, Monet is reluctant to depart and Timbí finds that working with Uma, a desperate woman, could help his father. Meanwhile, the touching tale of a preacher’s son coming to terms with his identity unfolds alongside. This individual moonlights as Bayron Quintero, a powerful drag queen known as Darla Experiment. His supportive drag mother and sisters may provide him the encouragement he needs to embrace his true self.

Del Sol masterfully navigates among the diverse storylines, allowing their absurd elements to flourish. Here, the writer-director creates an exuberant, extravagant atmosphere reminiscent of a nightly Babel gathering, where actors dance in harmony with the numerous rhythms and musical styles introduced throughout each scene. Martin De Lima’s score contributes significantly to this chaos, seamlessly transitioning between salsa and Balkan music without missing a beat. The film’s soundtrack mirrors this diversity, with a flamenco tune marking a poignant moment of reflection, while a vibrant drag number is accompanied by high-energy trap beats. Additionally, Del Sol ensures the party atmosphere by featuring eye-catching costumes (the Apothecary’s flared pants and flowing shirt are stunning), campy sets (you won’t find dildos used as levers anywhere else!), and even comical sound effects (this is a symphony of whooshes, growls, zips, and grunts).

In a unique and captivating way, “Rains Over Babel” resonates deeply (not just through its melodies, but symbolically as well) by weaving familiar stories into an exuberant, colorful tapestry of lost loves, distant fathers, caring mothers, and alluring sirens. This film invites us to envision a world that is more accepting, kinder – one that acknowledges the dangers and violence present everywhere, but finds beauty in endurance and joy in defiance. As one character expresses, “Sometimes, it’s best to leap into the abyss and let what must perish, perish.” Indeed, “Rains Over Babel” blazes with intensity – its fiery embers, glittering brilliance, and infectious salsa Caleña rhythms soothe and heal, yet also beckon us to participate in the festivities. Who could resist such a celebration?

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2025-01-27 03:48