INS NUMBER
Cary Fukunaga
2009 Appeared in the journal Sequences
The mare rails
Cary Fukunaga, who signed with Sin Nombre his first feature film, was born to Japanese and Swedish. His film is nevertheless a reality any other, that of illegal immigrants from Latin America, while addressing the issue by the band gang enjoying the exodus of capital to impose their rule along the Gulf of Mexico.
This could feed a whole movie in itself, in fact, are rife Mara Salvatrucha expanded along an axis including El Salvador, Honduras, Guatemala and Nicaragua, who erected a true Pan-American human trafficking cartel, open war with security forces and killings in all layers of society in Central America.
Like many other Latino filmmakers of his generation - to Like Alex Rivera ( Sleepdealer ), Fukunaga took advantage of the many development programs available in the United States against the directors of cultural communities Afro-American, Chicano, Native and Asian as those provided by Sundance Lab, before turning his camera to issues outside of Yankee territory.
What begins as another one of those violent and simplistic tales of the city turns into a manhunt credible and tragic way that few American independent filmmakers are able to do, at times recalling Maria Full of Grace of Joshua Marston. This is hardly surprising if the film was easily distinguished at Sundance last year, vowing with disembodied melancholy and occasional dark humor of many of the contemporary indies Fukunaga.
must see these trains can carry up to 700 passengers 'illegal' - impossible to miss as they are outside the cars - agglutinated pain and misery on the roof, even being whipped by the branches of trees around the track during their journey. The image is immediately striking, as the fatality in which most of they will be hit, while we repeat that only a handful of them manage to live through the Rio Grande.
This approach provides the film a more promising prospect than the usual parade of the pitfalls of each small group. Some want to escape from inhumane conditions while others are looking towards the north to escape their crimes. But among these "unnamed" (free translation of the title of the film) also roam the future bosses ready to eliminate their relatives, hoping thus to earn the respect and especially the protection of the gang. This unsavory alternative is taken here by Smiley, aged only 12, who prefers to go among the tormentors of his best friend Willy, now a fugitive, despite her after liquidating the leader of that band during an ambush in which he participated.
The ubiquitous circle of violence of the film is crystallized in this whole crescendo parallel between the fall of the dolphin and the ascension of his young companion - nothing very subtle or unusual here - but the fact remains that this chronic misery outer border has a frisky performance and unglazed that could foreshadow the introduction. The natural interplay of actors, all non-professional, easily captures our attention by screwing this incredible journey and all that manhood thundering in the dust, blood, sweat and garbage on the way to the Promised Land.
Like many Latin films (and even American) gender, values and moral flexibility characters illico determines their destiny, so the ability to identify those who manage to set foot on American soil seriously undermines efforts to polish up the gender, sociological acuity to the key or not. Fukunaga no exception to this trend, which will nevertheless permit digging up his pass to the U.S. market easier than most characters in his film.
Still, Sin Nombre confirms the revival of young Mexican cinema both uninhibited and having assimilated all points codes Hollywood, especially showing a clear potential for exploitation in the Latino market in the United States. With the consolidation of the industry around the hip new horde composed by Alfonso Cuarón, Alejandro González Iñárritu, Guillermo Arriaga, Guillermo del Toro and Diego Luna and Gael Garcia Bernal (both credited as executive producers Sin Nombre) popular cinema Felipe Calderón of the country seems to be doing better than ever, capitalizing on a demonstrated expertise and a renewed interest for significant social issues.
© 2009 Charles-Stéphane Roy
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