A24 is a studio known for its creative freedom, incredible quality control, and boundary-pushing filmmaking. With Best Picture-winning films like Everything Everywhere All at Once and Moonlight, they have garnered a reputation for creating features with massive critical acclaim while promoting the singular visions of filmmakers. While I don’t feel Problemista will be the next big hit for A24, it fits perfectly within their catalog of stylistic filmmaking. 

Problemista is the directorial debut of Julio Torres, who also writes and stars in the film. It follows Alejandro, played by Torres, as an aspiring toy designer from El Salvador in New York who struggles to get his work visa. His only hope to stay in the country is through a job working for Elizabeth (Tilda Winton), the unstable wife of a deceased artist. Elizabeth constantly tests Alejandro as he learns about the American dream and what it takes to become successful in a world where everyone is against each other. 

Although the premise is basic, Torres does much to liven up the story. Whether it is a knight battle to represent an argument or traveling to another world to research potential jobs, Torres’ visual style adds an extra layer of entertainment and gravitas that conveys the message of each scene while expressing his singular voice to the world of filmmaking. Torres views the world as a fantasy challenge that must be completed to move up, which makes the dramatic or slower moments of the film feel more theatrical. 

Katie Byron’s set design stands out to a surprising degree despite mostly taking place in New York City. The New York setting can feel uninspired, but Torres’ reimagining adds deep context to the film’s themes. There are moments of New York’s dullness in the apartment and street scenes due to the gray color tone, but the scenes in offices and houses are lively and imaginative. El Salvador is depicted as the most colorful as it represents the dreams of Alejandro, and some of that color carries over to New York City as his dreams slowly become reality. For only a $12 million budget, Problemista makes better use of its production than most hundred-million-dollar blockbusters.

Torres also shows a true knack for performing. Although mostly subtle, his dry comedy provides a lighter tone for the film and adds empathy to his character. He doesn’t yell or scream, but his nuanced performance matches the comedic debuts of legends before him. Swinton plays her character as the polar opposite of Torres, but it works perfectly for the film. Her outlandish nature and inconsistent behavior make her the ideal antagonist, and Swinton delivers on every level. Recently, Swinton has been challenging herself as an actress with her roles in Suspiria and Three Thousand Years of Longing, and this film is no different. This is one of her most unhinged and chaotic roles yet, and will likely stand as one of my favorite supporting actress performances of the year.

With immigration a relevant topic across the world, it can be difficult to paint a picture of these concepts in a fresh way. The film takes its protagonist on a difficult journey of facing adversities left and right and how facing these issues is what leads to success. People too often find themselves folding to the bad hands that life deals them, but Torres communicates that it is important to face the obstacles. The title Problemista doesn’t represent Alejandro’s constant struggle, but how Alejandro accepts the struggle and welcomes it, and how doing so leads to success. These ideas can also parallel the road to filmmaking as there are always bumps in the road, but eventually reach a final destination. 

Because of Problemista’s unique portrait of storytelling, I could see this movie not working for some people. I had a difficult time understanding the film’s intentions in the beginning. Torres’ style is non-stop, which can feel tiring for those who are into easy-going theatrical experiences. A second watch could help to understand Torres’ motivations, but I would be lying if I said the first act didn’t leave me perplexed. 

Problemista may not find the financial success of past A24 films, but I feel it will make a stamp on moviegoers due to its inventive visual style and its inspirational message. Movies like this often go under the radar because of their limited advertising or unorthodox storytelling, but if audiences give Problemista a chance, it could inspire Hollywood to take risks on up-and-coming filmmakers and give audiences the originality they’ve been craving.

Problemista will be released in theaters nationwide on March 22.

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