A journey around Bono's ego

It is likely that Paul David Hewson – that is, Bond, he frontman of U2 – is one of the most annoying figures in pop culture, although no one can deny his talent for narrating himself, something only the biggest stars can achieve. The contradictions and simplifications in his storytelling can arouse suspicion; in this sense, the parody profile that Joaquín Reyes dedicated to him years ago on the program Nui Girls remains unbeatable.

Bonus: Surrender Stories It obviously plays on the terrain of self-glorification, but director Andrew Dominik creates a remarkable film adapting the play based on the artist's memoir. In this show, Bono does what he probably likes most in the world: talk about himself. But he does so in an intimate and confessional way, far from the image that in the past bordered on caricature. Interspersing studio scenes with performances at the Beacon Theatre in New York, in an almost chamber format, Bono addresses painful experiences—the death of his mother, problems with his father—and the chiaroscuros of success with a fair amount of humility, and interweaves each of the experiences with U2's repertoire. At times you believe it, at others not so much, but the musician's dedication leaves no doubt about his quality as a performer, whether playing a rock star, a committed activist, or an attention-seeking celebrity.