![]() But that’s also what’s so romantic about this vision: two men, two wheels, and of course, the epic mountain vistas and endless dusty tracks of South America. ![]() After all, a bike can’t provide shelter when the heavens open up, or space for tools and drinking water when that inevitable breakdown happens. What makes this a singular road movie, though, is the bike. The plan: to travel from Buenos Aires to Guajira Peninsula in Venezuela via the Andes, the longest continental mountain range in the world, to see things they’ve only read about in books, to be enlightened. Yes, this is a biopic, but its focus is Che Guevara’s pre-revolutionary years, specifically the time he hopped on a Norton 500cc motorbike with a friend for the trip of a lifetime. ![]() Set in 1952, it follows 23-year-old medical student Ernesto Guevara de la Serna (you know him best as ‘Ernesto Che Guevara’). Seeing this film, it’s obvious why director Walter Salles was plucked as the favourite to adapt Kerouac’s On the Road. Frank’s ‘Milk and Honey’ – and how it captures the loneliness of long-distance driving. What’s more important is that the viewer surrenders to the film’s visual poetry, its rhythms – the long takes, the piercing lens flare, the sombre strains of Jackson C. But Gallo isn’t interested in explaining why this guy – a motorcycle racer on a cross-country trip from New Hampshire to California – is so glum. The mood is contemplative, the man reflecting on a life-changing incident in his past. The man is Vincent Gallo, also writer, director, editor, cinematographer, costume designer, makeup artist, you name it, of this movie. But the image that really encapsulates this existentialist movie is less explosive: a man looking through a windshield smeared with dead flies, staring blankly at the open road unraveling in front of him. It’s hard to talk about The Brown Bunny without mentioning its infamous fellatio scene and the hearty boos that greeted its Cannes premiere in 2003.
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