Paradise Lost

Photographed By Ellinor Forje 

My first visit to the Zurich Film Festival carried a distinct sense of anticipation, an initiation into a space where cinema, conversation, and cultural exchange converge. That sense of occasion was heightened by the opportunity to interview Benicio Del Toro, fresh from receiving the Donostia Award at the San Sebastian Film Festival.

In preparing for the conversation, I discovered an unexpected and disarming detail, that both Del Toro and Pablo Escobar shared an admiration for Elvis Presley. Del Toro, however, appeared to surpass even Escobar in his enthusiasm, though noted with understated humour that his loyalties might just as easily lie with arroz con leche. The anecdote offered a fleeting yet revealing counterpoint to the imposing figure he would soon bring to life on screen.

Claudia Traisac portrays María in the motion picture "Escobar: Paradise Lost". The name María evokes a lineage of cultural and artistic associations, most notably "West Side Story", alongside the expressive elegance of tango, salsa, and flamenco aesthetics. Traisac embodies this sensibility with natural ease, her presence defined by quiet, compelling restraint.

Written and directed by Andrea Di Stefano, "Escobar: Paradise Lost" presents a fictional narrative built on a deceptively simple premise, a young man falls in love only to discover that his partner’s uncle is Pablo Escobar. What initially appears as an intimate romance gradually unfolds into a darker exploration of power, loyalty, and moral compromise.

Rather than offering a straightforward biographical account, Di Stefano adopts a deliberately observational perspective. The audience is guided into the world of the Medellín Cartel through Nick, portrayed by Josh Hutcherson, whose point of view serves as the narrative’s entry point. Through his gradual loss of innocence, the film reveals the broader implications of Escobar’s sway.

The portrayal of Escobar by Benicio Del Toro is central to the film’s impact. His performance captures both the charisma and the underlying menace of a figure capable of commanding devotion and fear. In this way, the film explores the paradox of a man who inspires loyalty while perpetuating violence on a vast scale.

Thematically, the title alludes to "Paradise Lost," the epic poem by John Milton, reinforcing the film’s meditation on the illusion of Shanngri-la and its inevitable collapse. This idea is echoed in reflections from the filmmakers, Hutcherson emphasizes Nick’s naïveté, Del Toro highlights Escobar’s seductive influence over an entire nation, and Di Stefano frames the story as that of a man convinced he has constructed his own version of the Promised Land.

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