Biutiful 2010

Uxbal, portrayed by Javier Bardem, finds himself in a snowy forest where he encounters a younger man, who is revealed to be his father—a figure who tragically died in exile in Mexico due to his opposition to Franco. During this poignant meeting, they share a cigarette and converse about various topics, including the sounds of the sea.

In a deeply touching scene, Uxbal shares an intimate moment in bed with his daughter, Ana (Hanaa Bouchaib). She has come to him after witnessing his troubling health, telling him straight out that she knows he is dying. As they lie together, they admire each other’s hands; she admires his ring, a family heirloom, while he affectionately calls her mi amor. This scene, familiar yet presented from a new perspective, evokes feelings of love and sadness.

Inspired by the film To Live, Uxbal faces the harsh reality of being diagnosed with prostate cancer, leading him to contemplate the future and wellbeing of his children. Struggling through the pain of urinating blood, he juggles the burden of maintaining a living for his family while knowing that his time is limited.

Uxbal’s life as a middleman reveals a gritty backdrop: he plays a crucial role in orchestrating the sale of cheap knockoff goods sourced from a Chinese sweatshop run by Hai (Taisheng Cheng). He sells these products to Senegalese street vendors, particularly the main seller, Ekweme (Cheikh Ndiaye). His brother, Tito (Eduard Fernández), who complicates Uxbal’s life by having an affair with his estranged wife, partners with him in exploiting the Chinese immigrant workers. Their living conditions are deplorable, cramped in a basement where they are locked away every night, and one of the workers, Lilly, cares for Uxbal’s children.

The narrative delves into the struggles of Ekweme and his wife, Ege (Diaryatou Daff), who, despite wanting to return to Senegal, finds herself torn as Ekweme is determined to stay. As Uxbal tries to keep his precarious operations running, he faces escalating police pressure while also attempting to protect the street vendors from danger.

Meanwhile, Uxbal’s life in a small, run-down apartment with his young children, Ana and Mateo (Guillermo Estrella), reflects both his struggles and his deep devotion to them. Their mother, Marambra (Maricel Álvarez), battling bipolar disorder and drug addiction, re-enters their lives. Initially hesitant, Uxbal ultimately allows her back into the fold when he sees she is committed to sobriety and family.

Adding to his unique abilities, Uxbal possesses a gift of communicating with the souls of the deceased, offering consolation to a grieving couple after the tragic loss of their son. However, the story reveals the haunting specters of lost souls in the shadows of his life, adding an unsettling layer to the narrative.

As unforeseen calamities unfold—such as the tragic asphyxiation of the Chinese immigrants due to his good intentions gone wrong with gas heaters—lives are shattered, and the consequences of Uxbal’s choices cascade rapidly. The ramifications of his family’s complex dynamics come to a head when he realizes that trusting Marambra is a gamble.

Days of turmoil traverse through Uxbal’s deteriorating health and escalating troubles, forcing him to rely on Ege’s assistance. Their relationship grows amidst the chaos, and, with Uxbal’s condition worsened, he entrusts Ege with his children’s care—a commitment that she initially hesitates to accept.

Ultimately, the film culminates in a cycle, mirroring the opening scenes and echoing the myriad themes woven throughout Uxbal’s somber yet poignant journey, leaving viewers grappling with powerful emotions and reflections on life, death, and the bonds of family.