Plot
During Alejandro's childhood in El Salvador, he lives with his mother, Dolores who is an artist. Dolores encourages Alejandro's imagination, and together they create various imaginative projects. However, Dolores worries about Alejandro and is haunted by a recurring dream in which he ventures into a mysterious cave with a monster inside, symbolizing his journey into the unknown—something she has tried to protect him from.
As an adult, Alejandro lives in Bushwick, New York City, and struggles to achieve his dream to be a toy maker at Hasbro. He applies to Hasbro's internship program, submitting creative ideas such as a Barbie with crossed fingers behind her back and his personal favorite, Cabbage Patch Kids with smartphones. However, he receives an automated rejection email.
Left with few options, Alejandro takes a job as an archivist at FreezeCorp, a company that cryogenically freezes people despite lacking the technology to do so. Alejandro is tasked with monitoring the frozen body of the artist Bobby, known for his large-scale egg portraits, who froze himself for future success. Inspired by Bobby’s ambition, he starts brainstorming a new toy concept. Distracted by texting his mom, he accidently unplugs the backup generator for Bobby’s cryogenic machine. Alejandro is escorted out by a receptionist and encounters Bobby’s eccentric wife, Elizabeth, who struggles with FreezeCorp’s repeated fee increases. The receptionist reports Alejandro to his boss, Sharon, resulting in his termination. Facing deportation, Alejandro has 30 days to find a new sponsor for his work visa. His anxiety about staying in the country and making enough money to survive is depicted through two visual metaphors: an hourglass amidst a room full of other hourglasses, and an infinite staircase he climbs, where the key he needs is behind endless locked doors. [4]
Elizabeth downgrades Bobby's care and has to remove some of his belongings when she encounters Alejandro who agrees to help her move the items, after being fired. Inspired to exhibit Bobby's work and hires Alejandro as a freelance assistant, promising sponsorship upon completion. Alejandro is tasked with collecting thirteen of Bobby's egg paintings while navigating Elizabeth's volatile temper. However, immigration restrictions prevent him from earning payment without a sponsor, forcing him to take cash-based, precarious jobs found on an embodied Craigslist to cover the high visa fees. Despite some success in earning money, Alejandro does not receive payment for his job as a hair product salesperson. Meanwhile, Dolores struggles with not being able to help her son.
Elizabeth introduces another assistant, Bingham, who was forced to take the job by his father after wrecking his car. Bingham’s presence jeopardizes Alejandro's position. Despite Alejandro's efforts, Bingham, who does not respect Elizabeth, shines in her eyes. Alejandro and Elizabeth locate twelve of the thirteen eggs, but Bobby's final egg painting is possessed by Dalia, a former student artist and mistress of Bobby. Elizabeth, jealous of Dalia's relationship with Bobby, wrote a scathing review of Dalia's work, causing the downfall of her artistic career. Alejandro writes a heartfelt apology on Elizabeth's behalf, leading to Dalia's tearful acceptance and release of the painting. Elizabeth had expected Alejandro to update her filing system. However, when he fails to complete it, she angrily calls him and demands an overnight shipment of the physical copies. Unable to pay for the shipping fees, Alejandro discovers that his bank account has a negative balance. After an argument with the bank representative that was realistic in content and dialogue but fantastically portrayed on screen, Alejandro grows more desperate. He sublets his room and accepts a job on Craigslist that he had previously turned down, performing for a cleaning boy fetishist. He also discovers that Hasbro has profited from one of his toy designs.
Alejandro is offered a job as a paralegal and Spanish translator at the immigration office but turns it down once he learns that he has secured a solo show for Bobby at a Roosevelt Island gallery. Elizabeth initially derides the gallery for lacking notoriety. However, Alejandro stands up to her in a dream-like battle between dragon and knight, making her realize that they both share the same ambition and devotion to art, while Bingham does not care about Bobby's legacy. Elizabeth agrees to the exhibition. On the way there, while crossing between Manhattan and Roosevelt Island in a cable car, they realize they have forgotten a painting. Elizabeth demands the conductor to turn around. They retrieve the egg and arrive at the gallery, only to be disappointed that they are afforded a single wall to display Bobby's art. Despite not getting an art show, Elizabeth and Alejandro successfully sell all of Bobby's paintings to the gallery. In a moment of vulnerability, Elizabeth shows her gratitude and loneliness to Alejandro and Alejandro commends her bravery and perseverance. Alejandro calls his mother to share their success. She confesses that by trying to protect him through her creations, she inadvertently pushed him away and became creatively stuck. As she waits for his response, Elizabeth interrupts with a shocking voice message. She has decided to freeze herself to remain with Bobby in the future. As the message plays, Alejandro rushes to her apartment and sees her being carried away by FreezeCorp. Elizabeth thanks Alejandro, expresses that she will miss him, and hopes the government will continue to uphold her sponsorship of him despite her absence. She reveals the name of the executive who stole his toy idea and urges him to go to Hasbro, stand up for himself, and pursue his dream job.
Empowered by Elizabeth's message, Alejandro goes to Hasbro and confronts an executive with evidence of his stolen design. He secures a job within the company along with a proper sponsorship. Alejandro's mother is reassured by her son's newfound success and confidence, which frees her from her creative block. Centuries later, Elizabeth and Bobby are reawakened by FreezeCorp. Elizabeth reunites with Alejandro, now elderly and a renowned toymaker, who also chose cryogenic preservation much later in life. Their bond transcends time.
Critical response
On review aggregator Rotten Tomatoes, the film holds an approval rating of 86% based on 132 reviews, with an average rating of 7.4/10. The website's critics consensus reads: "With Problemista, Julio Torres' utterly unique sensibilities prove a perfectly cracked lens through which to find the surreal humor in bleak aspects of the human experience. [14] " Metacritic, which uses a weighted average, assigned the film a score of 68 out of 100, based on 30 critic reviews, indicating "generally favorable" reviews. [15]
The New York Times considered Problemista a fantasticaly and visually extravagant exploration of systemic inequality, with Julio Torres's signature eccentricity balanced by a newfound willingness to tell a relatable story. The film draws on Torres's own immigration struggles, blending absurd visual metaphors with biting social commentary. Tilda Swinton’s portrayal of Elizabeth, a venomous and domineering art critic, was highlighted as a standout performance, described as both frightful and mesmerizing. The review lauded the film's ability to juxtapose playful absurdity with the harsh realities of bureaucracy and economic precarity, ultimately framing Elizabeth's rejection of impersonal modern systems as a rebellious, albeit overwhelming, battle cry. [16]
Christian Urrutia of El Tecolote referred to Problemista as a rare portrayal of a Salvadoran immigrant, calling it a “quirky and whimsical journey” [17] that challenges typical immigration narratives. The review highlighted the film’s surreal humor, comparing it to Terry Gilliam’s work, while addressing serious themes like the “dystopian power dynamics” [17] between employers and immigrant workers. Tilda Swinton’s Elizabeth is described as a “true problemista,” [17] whose unhinged antics force Alejandro to realize that “sometimes you need to create problems to find new solutions.” [17]
According to Peter Bradshaw of The Guardian Problemista is a quirky, overly stylized film that struggles under its excesses. Julio Torres's portrayal of Alejandro is marked by a “weird marionette-bobbing motion,” [18] while the film's charm often feels forced, like “the filmic equivalent of a decaf oat latte with a sprinkling of vegan gummy bears.” [18] Tilda Swinton’s performance as the abrasive Elizabeth is the film's saving grace, but even she can’t fully redeem the implausible, “insufferable” [18] tone, which leaves the film feeling more like a collection of whimsical moments than a cohesive narrative.
NPR included Problemista on its list of the best movies and TV of 2024, with critic Glen Weldon writing, "The comedy targets are broad – institutions like banks, credit card companies, and the U.S. immigration system – but the jokes themselves are precise and perfect". [19]
