There are many immigrant stories and experiences, but none are as complicated as the US-Mexico relationship. Many Mexican descendants experienced the American invasion firsthand, either through war or forced migration.

In Bardo, Alejandro González Iñárritu informs of his journey. He uses history, fable, and family to paint a picture of what it's like to live between two worlds from the perspective of a Latin immigrant, which is often overlooked in this debate.

Many people are familiar with this deeply personal film. After living in the United States,  Iñárritu examines his relationship with modern-day Mexico in great detail. His former home has changed, particularly in terms of politics. Things that once provided comfort appear to have been pushed to the side or have vanished entirely.

Historically, stories woven from lies that no longer tell the truth about how this great nation came to shrink in size and voice. Americans refuse to accept responsibility for Mexico's demise.

 Iñárritu’s film Bardo examines his relationship with his homeland. He identified with places and names that no longer exist. His former countrymen have become strangers to him. Eugenio Caballero, the production designer, brought to life a world that only appears in memories.

Many people are familiar with this deeply personal film. After living in the United States, Iárritu examines his relationship with modern-day Mexico in great detail. His former home has changed, particularly in terms of politics. Things that once provided comfort appear to have been pushed to the side or have vanished entirely.

Historically, stories woven from lies that no longer tell the truth about how this great nation came to shrink in size and voice. Americans refuse to accept responsibility for their country's demise.

It looks at what it means to be a foreigner in one's own country. It's a close look at what Mexicans think of those who have crossed the border in search of success and riches. You're a stranger in the United States, but you're also a stranger in Mexico. Is he welcomed in this new Mexico? 

Bardo has many serious undertones, but they are frequently broken up by comedy. The film mocks its main character's self-righteousness and the insane stance he takes in order to be taken seriously. Silverio, played by Daniel Giménez Cacho, is at the helm of this grand social experiment. Silverio is a well-known journalist and documentarian who is about to be honored in the United States and decides to return home before receiving an award. He wants to see those who knew him before he became famous.

Alejandro is represented by Giménez Cacho. They have similar body shapes and hairstyles. Giménez Cacho who is Spanish and has previously appeared in Lucrecia Martel's "Zama" and Pedro Almodóvar's "Bad Education," but  has worked extensively in Mexico since the 1990s took on this challenging role.

The director stated unequivocally that he did not want Bardo to be an autobiography because he believes they often lack the honesty required to tell one's own life story, thus the alter ego. Silverio Gama was perfectly played by Giménez Cacho. Despite his success, he is a man trying to find his purpose. He draws us into this fantastic world.

Another intriguing aspect of Bardo is that Giménez Cacho portrays Silverio at various stages of his life. He is not replaced by a younger actor; instead, Iñárritu shrinks him in size, and it works.

The visionary musings of Federico Fellini's Amarcord is reflected in those scenes helping viewers relate to the afterlife. 

Silverio and Luca's third child expresses their spirituality. A child who was stillborn. It alludes to Mexico's troubled relationship with the Catholic Church. There is also a reference to the holy trinity, which consists of the Father, Son, and Holy Spirit.

The title of this film is inspired by Buddhism. The concept is that we must all spend time in limbo between life and death. In Spanish, bardo also means "bard." An ancient storyteller or poet, traditionally associated with a particular oral tradition and reciting epics.

Silverio is introduced to the audience in the first scene. He is currently on a train bound for Santa Monica. The Metro Expo Line in Los Angeles is served by train. His transparent axolotl bag is clearly visible. It tears and floods the train, symbolizing a later theme in the film.

Beautiful landscape shots of Mexico's countryside and tight shots of an empty Mexico City contribute to the film's storytelling.

In another scene, Silverio imagines himself on a prominent Mexican television program alongside an old coworker. The title of the program is "Supongamos," which translates as "Let's Assume." The host chastises him for living in luxurious Los Angeles while being anti-American. He makes fun of his hypocrisy. He characterizes him as a snob. Anyone familiar with Iñárritu story is aware that he has experienced similar criticism.

Iñárritu, who was born into the upper class, is a man who was able to find himself because of his luxury. In addition, he was able to enter the United States without the normal problems encountered by the average Mexican. Add in that he has more melanin than the public faces of Mexico and here you have an artist who has always been challenged by someone. All those questions are reflected in the character of Silverio.

A memorable scene in Bardo occurs during a family breakfast. Silverio scolded his son Lorenzo (Iker Sanchez Solano), reminding him that they were "first class immigrants." They did not suffer the loss and hardship that those who must cross the border do. He is also irritated with him for speaking English rather than their native Spanish. Bringing to light the struggle of many immigrant children who are caught between two worlds. Lorenzo criticizes his father for his depicting indigenous Mexicans in his film. Silverio is taken aback because he considers his work to be significant. He fails to recognize the vast difference between document workers and those considered illegal. Father and Son are at a crossroads of identity vs ethnicity. 

Lucía (Griselda Sicilian) adds to his anguish by reminding him that he is harsh on Mexico while in the US chastising anyone who disparages the country. Trying to have your feet in two countries rears its ugly head once more.

In those moments, Silverio represents Iñárritu, who has stated, "I love Mexico, but this isn't the Mexico I know."

Another pivotal scene in the film occurs when the family returns to the United States. Silverio who is in the US on a work visa, is asked by an immigration officer why he came to America. "It's my home," Silvero asserts emphatically. This is the situation for many people who have lived in the United States for decades, paid taxes, but do not yet have citizenship. Another reminder that, while your old home may not feel familiar, your new home isn't welcoming either.

Bardo is a deeply personal film about an immigrant experience that is often overlooked. An experience shared by many who have left their home in search of their dreams while attempting to maintain their culture and identity.

Bardo is coming to theaters November 18th and to Netflix December 16.