Film Review: Carmen & Bolude (2025) - Australia
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Reviewed by Andrew Chan (Film Critic Circle of Australia)
I rated it 5/10
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There are films that arrive with their hearts proudly stitched onto their sleeves, beating with earnest purpose. "Carmen & Bolude" is such a film. Its mission – to celebrate the vibrant, messy, multicultural tapestry in the backdrop of contemporary Australia through the bond of two women from different backgrounds – is undeniably noble. Co-writers and stars Michela Carattini and Bolude Watson clearly pour their lived experiences into Carmen and Bolude, radiating an authenticity that provides the film’s most genuine spark. Their chemistry, the bedrock of this "womance," feels real, born of shared struggle and laughter. You want to root for them, and for the film’s message of sisterhood across cultural divides.
The film’s spirit shines brightest in unexpected moments. A quiet, devastating scene where Suzan Mutesi cuts through the noise with profound poignancy, a stark reminder of the deep roots the film occasionally brushes against. And then there’s the music. The soundtrack, a pulsating blend of Latin rhythms, African beats, and Indigenous melodies, is the film’s unassailable triumph. It pumps life into scenes that might otherwise falter, offering a visceral energy the visuals often lack.
Alas, noble intentions and a great soundtrack do not a cohesive film make. "Carmen & Bolude" suffers from a profound identity crisis, a tonal whiplash that leaves the viewer perpetually off-balance. The central flaw seems baked into its creation: with two directors and two writer-stars, it feels less like a unified vision and more like two different movies wrestling for control. One minute, we’re immersed in a grounded, sensitive drama exploring identity, displacement, and the weight of history. The next, we’re thrust into broad, often cringeworthy comedy reliant on caricatures so exaggerated they border on offensive.
This is the film’s fatal paradox. It aims to dismantle stereotypes yet constantly deploys them for cheap laughs. The "insensitive" white Australian in-laws (played by David Collins and Suzann James) aren't just flawed; they're cartoonish. Ethnic side characters frequently feel like props, defined by single, exaggerated traits rather than humanity. The comedy often lands with a thud, undermining the very empathy the dramatic moments strive to build. It’s frustrating because the potential for sharp, character-based humor rooted in genuine cultural friction is there, glimpsed fleetingly in the leads' interactions, but it’s drowned out by the sledgehammer approach.
Technically, the film feels constrained, possessing a flat, television-like aesthetic that rarely elevates the material. The cinematography lacks dynamism, failing to find a visual language to match the soundtrack’s vibrancy or the complexity of the themes. At nearly two hours, the pacing sags, stretching scenes and ideas thinner than they can bear. You feel the runtime, particularly during comedic set pieces that overstay their welcome.
"Carmen & Bolude" is a watchable film riddled with flaws. Its heart is in the right place, and the connection between the duo provides genuine warmth. The soundtrack is a joy, and that single Indigenous sequence resonates deeply. But as a cinematic narrative, it’s deeply uneven, pulled apart by competing tones and undermined by its own reliance on the very stereotypes it seeks to challenge. It succeeds as a well-meaning cultural snapshot and a testament to female friendship, but stumbles as a coherent or groundbreaking piece of filmmaking. For audiences seeking a light, feel-good celebration of sisterhood, there are moments to cherish. For those seeking cinematic polish or narrative depth, it falls frustratingly short. Credos for the music, the heart, and the attempt – but the execution leaves too much promise unfulfilled. (Neo, 2025)
Also, this: https://www.instagram.com/reel/DS0cPYlkolO/?igsh=ejFsbG9paXpnNnJi
Thank you for reviewing our film (though our target audience is clearly female-identifying). I would challenge your premise that both stereotypes and nuanced humanity cannot co-exist in a person and a community, and in fact that is the point of the film. We are not either/or, we are both, and we change depending on who is looking, and how. Just like real life, tone and perspective can and do change in a heartbeat.