World Film Reflective Essay

 

Myself or My Country: Contemporary Globalization in Babel (2006)

        From their conception, film and television have sought to present the world through the lens of the director and screenwriters. From I Love Lucy to Squid Games, directors have sought to present their perspectives to the viewer through film and television. One such example is Alejandro González Iñárritu’s 2006 movie Babel, as it depicts the intertwining lives of its characters through the lens of an increasingly globalized society. By depicting the complexities of interpersonal relationships between individuals and countries, Alejandro González Iñárritu emphasizes how modern globalization has dissolved meaningful relationships for the sake of political gain.

        When it comes to the film’s depictions of individuals, the interactions between American characters and those of other countries are defined by stereotypes and miscommunication. This is especially evident as Mike tells his nanny, Amelia, and her nephew, Santiago, “My mom told me that Mexico is really dangerous” (Babel 31:28). In their childhood innocence, the only way that Debbie and Mike can conceptualize Mexico is in relation to what they have heard from their parents. All they are left with is loose connections to overgeneralizations and stereotypes that isolate them from their current caretakers and create a sense of otherness, leading to Santiago’s animosity in replying, “Yeah, it's full of Mexicans” (Babel 31:30). Although they did not mean any harm by their response, there is no longer any objective understanding of the other in a relationship that is co-opted by adopted stereotypical definitions of a culture and people. Having overheard countless stereotypes firsthand, for me, this scene emphasizes the pervasiveness of stereotypes and miscommunication in an increasingly globalized world that is more interested in clickbait and generalizations than the reality of the individual.

        Similarly, the film also depicts the breakdown of relationships between countries in the name of political expediency. The most prevalent example is found in the media’s reporting of the shooting as the accurate report breaks down into political jabs where it is revealed that “the American government was quick to suggest a terrorist link” (Babel 01:01:30). Despite little being known about the incident, the U.S. government’s response highlights a prior mistrust that has infused itself into the situation. Rather than communicating with the officials involved, the countries get in their own way and try to get ahead of one another at the cost of the individuals involved. The Moroccan government furthers the divide as they respond to the accusations, claiming that “one act of vulgar banditry followed by the superficial evaluations the U.S. places upon it cannot ruin our image or the economy” (Babel 01:01:35). Instead of diffusing the hostility between the countries, the focus on their increasing antagonism emphasizes the breakdown of relationships of all involved. The same can be said outside the fictional world of film, as the relations between nations affect the real lives of individuals, leaving them at the mercy of insincere goodwill.

        Through depictions of the complexities of interpersonal relationships, Alejandro González Iñárritu highlights how modern globalization has complicated meaningful relationships in search of personal and political gain. Despite the cold, globalized world that values profit above all, it is more important than ever that individuals pursue the cultivation of heartfelt relationships. From family to friends to coworkers, people need to reach out to others before more individuals are sacrificed on the altar of progress.

Works Cited

Babel. Directed by Alejandro González Iñárritu, performance by Brad Pitt and Cate Blanchett, Paramount Pictures, 2006.