Traffic

Traffic takes a look at the War on Drugs through a prismatic lens – focusing equally at their source, the public, federal government, and the U.S. border. Some stories are more interesting than others are, and the entire film is awash in needlessly artsy cinematography. Each story has its own distinct look and color scheme, frequently washed or bleached out and layered over with a colored filter.

Thankfully, Traffic presents these various stories with an even hand and refrains from the typically Hollywood choice of blustery editorializing. Addiction is a health issue – physical, emotional, mental – and shouldn’t be treated like a crime. I’ve long believed this given my own history and complicated personal relationships, and it’s nice to see a film which treats the issue as such. At least, as far as the story about a U.S. politician’s daughter descent into crack-cocaine addiction and self-destruction goes. That’s one is good, even better is the pregnant housewife of luxury that sees her entire world turn upside down once it’s revealed that her husband is a high-level drug dealer. She turn from sheltered housewife to avenging queen of a cartel is a shocking display of fight-or-flight through a warped filter.

Traffic is built upon multiple stories that frequently don’t connect directly but connect spiritually. Some are more engaging than others, but all of them are filled with a brilliant ensemble of great actors doing commendable work. Benicio del Toro gets a flashy role as a Mexican cop playing several sides, and he gives it his gonzo all. He won all the applause and awards at the time, but the role that the film rests upon is Michael Douglas’ conflicted U.S. politician. He must travel smoothly from righteous indignation about the entire abstract concept and realities of drug use in America to a more understanding and grey area as it arrives upon his doorstep.