#Escobar paradise lost series
But this sort of empathy is never allowed to blossom, as Nick remains a blank pawn in his own narrative.ĭi Stefano never establishes a seductive sense of pace, favoring instead a series of inept elisions that routinely throws the audience out of the story. For this scenario to play, we’d have to be drawn into Nick’s passion for Maria and to be allowed, perhaps, to intuit the understandable temptation that Escobar’s power and unfathomable wealth might wield over a young, essentially homeless backpacker. Paradise Lost is predictably and disastrously told from Nick’s point of view, which is to say that a fascinating socio-political story of global criminal conspiracy plays out on the fringes of a generic fable of a callow youth coming to understand, weirdly belatedly, that he might not be able to fraternize with ruthless killers without drawing some of the heat down on Maria and himself. The film’s subtitle, though, should tip audiences off to writer-director Andrea Di Stefano’s intentions, as this premise is meant to be taken deadly seriously as a parable of innocence corrupted. Paradise Lost, then, offers the ultimate in inexplicable high-concept mash-ups: It’s Meet the Parents crossed with Brian De Palma’s Scarface. That uncle is none other than Pablo Escobar (Benicio del Toro), the most notorious and powerful drug kingpin of all time, and soon Nick finds himself dodging bullets while on the run from Escobar’s shadowy cartel. One day, Nick strikes up a flirty conversation with a gorgeous young woman, Maria (Claudia Traisac), and the two soon become serious enough for Nick to be invited over to a mansion the size of a college campus for Maria’s uncle’s birthday party.
The film’s hapless hero, Nick (Josh Hutcherson), is an insanely naïve Canadian hoping to run a shoestring surf business on beaches near Medellín, Colombia with his brother, Dylan (Brady Corbet). Escobar: Paradise Lost has a setup that’s ripe for a grandly loony and lurid tragicomedy.
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