The Boy from Medellin review: J Balvin’s documentary lacks tempo and depth

The Boy from Medellin shines light on Balvin’s bouts with mental illness. But these are just fleeting glimpses in a documentary that melds videos from his past as the singer, in an almost carefully curated method, evokes these dark memories and connects it to his current predicament,

The Boy from Medellin

“I went to hell very young because I wanted to be someone else,” says Columbian reggaeton singer J Balvin, while recounting his days of finding fame fast in Matthew Heineman’s documentary The Boy From Medellin. If the documentary focused on the mental illness issues that Balvin struggles with or his fascinating journey as a 17-year-old from Medellin out to make a living through music to help his family, the story would have struck a chord with the millions of his fans. Instead, it tries to paint a pretty picture about its protagonist through his political stand (or lack of it).

The documentary starts with Balvin returning to his hometown Medellin in 2019 to wrap up his tour with one final concert, which is a week away. But days before the concert, the entire country plunges into a social and political crisis that also engulfs Balvin through his fans. He is called out for not speaking up for those in his country; his silence is perceived as cowardice. This has the Columbian singer questioning himself, even as he enjoys the days with his friends and family. With the country in its most sombre mood, the concert he was most excited could once again lead him down a dark path.

Heineman, through The Boy from Medellin, shines light on Balvin’s bouts with depression and suicidal thoughts, and how he turned his fan following as his strength by being open about his struggles. But these are just fleeting glimpses in a documentary that melds videos from his past as the singer, in an almost carefully curated method, evokes these dark memories and connects it to his current predicament. Some of the moments, such as when Balvin goes through his Instagram feed or his manager Scooter Braun gives him a pep talk about how he must be an artist who risks himself for others, feel inauthentic and scripted.

The documentary, however, does succeed in showing how the perception of fans dictate what artistes’ actions. In a conversation, Balvin’s friend tells him, “This is the only country where artistes are expected to do things, they are not meant to do… and the worst part is, if you do speak up, you are wrong and if you don’t, you are still wrong.” The singer’s distress at how he will be perceived is captured well. A particular scene where he is in two minds whether to put up a post about a youngster’s death speaks volumes about how celebrities have to often balance their real selves and their perceived images.

Some of the best and fun parts of The Boy from Medellin is in its last half hour, when Balvin meets a rap duo who have been criticising him online and hears them out personally, and the concert. With fireworks, laser lights and confetti everywhere, a documentary on a J Balvin concert alone would make for an exciting film. But instead, we get a polished version of a celebrity’s troubles that tries to eke out mileage by setting it against an embroiling national social crisis.

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