Apparently, different and sometimes diametrally opposite selves get along together in each creator. But for Frida Kahlo, a unique Mexican artist, this split personality phenomenon proved to be a wholesome environment for the development of her talent.
The internal dispute between two Fridas, a romantic person keen on painting and a lonely woman full of scepsis and free from self-deception, makes the basis of the film, its tension and conflict.
It's not a biographic movie telling about the incredible ups and downs of the life of Magdalena Carmen Frida Kahlo y Calderon. It's rather an attempt to paint on the screen with small, precise strokes (like Frida painted herself), a live, pulsating portrait of one of the most incredible, versatile personalities of the 20th century.
This film is a portrait of Frida in the areal (aureole) of personalities surrounding her. It shows celebrated Mexican muralist Diego Rivera, ideologist of permanent revolution Leon Trotsky, eminent photographer Tina Modotti, father of surrealism Andre Breton, and a furious dialog of two Fridas, two poles of the painter's self, clenching hands on her Self Portrait.
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