Through Balvín’s plights, Heineman invites us to consider how entertainers have become commodified and disassociated from their humanity in our eyes. It takes a village.ĭuring the high stress week, with his vocal cords acting up and Colombians demanding a pronouncement, there are visits from his spiritual advisor, his psychiatrist, and his physician plus interactions with his assistant, his girlfriend, his longtime friends, and other peripheral individuals whose roles aren’t explicitly explained. Less conspicuous is the realization of the number of people who sustain all aspects of Balvín’s life so that he can eventually get on stages at venues across the globe: from the administrative to his health and his emotional support system. Colombia is currently a major hub for reggaeton, home to some of the most successful artists in this musical style His openness about this invisible struggle, surely maximized by the spotlight, makes him relatable.Ĭonsidering that reggaeton was exported from Puerto Rico to the rest of the Americas, the doc could have benefitted from a slightly broader look into its history in the South American country, and Balvín’s position within this incredibly popular and rapidly transforming genre. Balvín suffers from anxiety and depression meditation and medication have offered salvation. But while these signs of extreme wealth are present visually throughout, the atmosphere comes off as unpretentious. There’s no escaping the opulence that surrounds a man who’s topped the charts, collected a slew of awards, and collaborated with the likes of Beyoncé. Balvín’s numerous hits underscore the piece, while performance sequences that provide more of a concert movie feel bookend it. The performer addresses the camera directly when discussing the timeline from his days as an immigrant painting houses in Miami to honing his skills performing wherever they had him in the early 2000s. Heineman capitalizes on his access by relying mostly on insight provided through exchanges between Balvín and those around him. Furthermore, he knows that no response will satisfy everyone watching. Balvín cares, but admits that his knowledge on the details is limited. But as Taylor Swift recognized in her own documentary shot during the Trump era (" Miss Americana"), being completely apolitical breeds a negative perception. Through songs of celebration, his goal is to sell dreams and inspire without an agenda other than his upbeat rhythms and catchy lyrics. As criticism mounts in the press and on social media, Balvín questions whether he should make a statement or remain silent. Outcries over educational opportunities and access to health services have turned into increasingly violent confrontations between the citizenry and government forces resulting in several deaths in Colombia. Medellín’s most beloved son experiences a turbulent homecoming that moves him to reconsider his stance and the scale of his impact. Balvin-to speak out in support of young people fighting for change-and the vulnerability of the man underneath the colorful attires and bold demeanor, José Álvaro Osorio Balvín. With Heineman at the helm, the stakes portrayed don’t only mind the concert itself but the gray space between the responsibilities of J. Balvin over the course of a week in 2019, leading up to his first stadium concert in his hometown just as student protests collapse Colombia. In the engaging and spirited “The Boy from Medellín,” director Matthew Heineman (“ Cartel Land,” “ City of Ghosts”) frames all these variables in relation to reggaeton maverick J.
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