Monos inhibits a heart of darkness to illustrate humanity's primal instincts. Order descends into chaos. Democracy spirals into anarchy. Civilisation is built upon the skeletal foundations of fossilised primordial neanderthals, the earliest form of societal structure. Hierarchies dependent upon the commands of a leader. Without leadership, without the control of power, there is no discipline. Clouded peaks of tranquility, Colombia. War ravages the landscape below. "The Organization", an allegiance of anonymity, instructing a small cluster of armed teenage guerillas to retain a hostage in the remote environment that towers over the expansive horizons. Equipped with the assignment, these youthful commandos are tested. Challenged mentally and physically. Initially embracing cohabitation with their former leader, until a complacent accident leaves the group searching for power. Ideologies skewed, this impactful transition of leadership ultimately affects the dynamic of the teenagers, subsiding to primal intuition.
Landes' combination of Golding's 'Lord of the Flies' and Conrad's 'Heart of Darkness' may lack the psychological vibrancy of their source materials, yet effortlessly embraces the bleakness of its political surroundings. The core loneliness of Monos illustrates the identity crisis that the conflicting country faces today. Governments are pitted against communist guerillas and crime syndicates, turning the serene topography into a fragile battlefield. Landes captures the delicate nature of Colombia's ministerial mayhem and likens it to primeval anarchy. The fractured control that dissipates within the group, either due to conflicting moralities or general insubordination, is the metaphor. The metaphor that strikes at the heart, departing a persisting impact with its intrinsic insight into chaos.
The narrative is essentially segregated into two juxtaposing segments. The mountaintop, filmed exquisitely in Chingaza National Natural Park, and the jungles of Antioquia Department. Both halves present the same ordeal, yet the group is guided by a different member. Wolf orginally, then Bigfoot. It presents a shift in power, not just in leadership, but in group psychosis. For example, Wolf leads a celebration after "The Organization" lend Monos a domestic farm animal. It involved joyfully circling a fire and, generally, emanating happiness. An hour later, Bigfoot commences a celebration after retrieving the escaped hostage. This time, participating in a ritualistic fight that resembled an animalistic tone. Landes subtly exemplifies the mind's descent into solidarity, as the teenagers lose their societal upbringing.
Contrasting examples like this are interwoven throughout, however the characters themselves needed more time to develop and provide the integral psychological insight that was unfortunately absent. Bonds between Rambo and Lady and with Boom Boom and Swede needed to flourish more within the feral foliage to produce a more unyielding energy, especially during the latter half when moral conflicts become established. Fortunately this does not deter from the narrative's staying power, which from the abrupt cut to black, will endure for several months.
All performances were equally ferocious, with Arias leading the pack embodying angst and brutality. The gender neutrality of Buenaventura, who plays Rambo, heeds to the concept of identity searching. Levi's minimalistic yet evocative score supplies scenes of distressing nature with a foreboding presence, particularly the celebratory moments. And, obviously, Wolf's cinematography was sublime and a substantial aspect to Monos' acclaim. From the torrential tropics to the precipitating pinnacles, every frame was stunningly coloured and intimidatingly inviting.
Instrumental to its political presentation, Monos alludes to its tranquil photography. A group separated from society. Alone. One. Its deafening silence echoes across the mountainous peaks and rampaging rapids, signifying the persuasion of Colombia's deceptive youth to take control of their future. Control of their society. Control of their country.
