Wasp Network is “based on a true story,” but its makers may have been looking at reality through beer goggles. For example, there is a character played by Ana de Armas, whom I would describe as a young Tiffani Amber Thiessen.
During the epilogue, a photo of the corresponding real person is shown, and what we see is a thick, plump, buxom, etc. woman, and there is nothing wrong with that, just like there is nothing wrong with de Armas being slender. The problem lies in the manipulation of truth to enhance audience appeal. If director Olivier Assayas took such liberties with a supporting character, how well does that bode for the rest of the movie?
To maintain the integrity of their storytelling, filmmakers must prioritize transparency. Altering the physical appearance of real-life characters for the sake of aesthetics is a distortion of the truth that compromises the authenticity of the story and leaves us wondering how much of what we see on screen can be trusted as an accurate representation of the real world and how much has been altered for entertainment purposes.
In keeping with this pattern, the locations are authentic, but even if the events of the film were equally genuine, Assayas’ decision to tell the story in a non-linear fashion adds another layer of complexity, making it even more challenging for viewers to discern the truth from fiction.
Of course, even if the Assayas had told this story sequentially, it would still be hard to follow with its espionage and counter-espionage, moles, agents and double agents, and above all, its moral ambiguity and political contradictions.
Simplicity is required here, not convolution. What’s the use of knowing what truly happened if we don’t understand how and why it happened? If the movie really is the straight dope, why not give it to us straight up?
Presenting the narrative in chronological order would allow the audience to gain a clearer understanding of the events and their significance, making the film more accessible and engaging for a wider viewership. Stripping away unnecessary complexities would enable the audience to grasp the true impact of the story. And clarifying the motives and consequences of the characters’ actions would enhance the overall viewing experience.
On the plus side, Wagner Moura’s suitability for Wasp Network contrasts with his mismatch in the title role of Sergio. In both movies, he is snooty, arrogant, and shallow; these are characteristics unbecoming of a noble United Nations diplomat, but which fit his opportunistic character like a glove in this film.
A character who also happens to have the best lines. For instance, [devouring a Big Mac] “After years of eating McCastro’s, McDonald’s is a delicacy.” Or, when a Cuban journalist asks him, while his wife watches the interview from Miami, what he misses most about his life on American soil: [pause] “My Jeep Cherokee.”
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