“My painting carries with it the message of pain.” – Frida Kahlo

There is a saying amongst members of the art community that true art is pain. Self-mutilation and scenes of anguish aren’t necessarily art, but rather powerful pieces are born from the internal screams and writhing agony of their creators. Such was the case with the art of Mexican surrealist painter, Frida Kahlo: a woman whose tragic life was brought to the silver screen in the biopic “Frida.”

The film, in traditional biopic fashion, follows Kahlo (Salma Hayek) through her university years to the tragedies that shaped her as an artist and her meeting with her future husband, Diego Rivera (Alfred Molina).

Rather than use the typical technique of accentuating the despairing moment with normal cinematography and execution, as is done in most biographical films, the picture takes routes as unreal as the artist herself with skeleton puppets conducting her physical exam after her crippling injuries early in the film, and even recreating some of her paintings with imagery such as “The Broken Column” and “Two Fridas.”

Though used in short sections of the film proper, the supporting cast boasts an excellent rapport with Geoffrey Rush as communist exile Leon Trotsky, Antonio Banderas as muralist painter David Siqueiros and Edward Norton as Nelson Rockefeller.

Stunning in its visuals, direction and reverence for the tortured painter, Frida pulls no punches and dramatically brings to the life of one of Mexico’s greatest surrealists to the screen. “Frida” is an excellent film for a melancholic day, though those with a faint constitution should prepare a bit before viewing.