In ¡Alambrista!, a farmworker sneaks across the border from Mexico into California in an effort to make money to send to his family back home. It is a story that happens every day, told here in an uncompromising, groundbreaking work of realism from American independent filmmaker Robert M. Young. Vivid and spare where other films about illegal immigration might sentimentalize, Young’s take on the subject is equal parts intimate character study and gripping road movie, a political work that never loses sight of the complex man at its center. ¡Alambrista!, winner of the Cannes Film Festival’s inaugural Camera d’Or in 1978, remains one of the best films ever made on this perennially relevant topic. –The Criterion Collection
Robert M. Young, one of our foremost independent filmmakers, has an award-winning body of work that includes classic documentaries and acclaimed feature films, such as Nothing But A Man, Alambrista!, Short Eyes, Rich Kids, One Trick Pony, The Ballad of Gregorio Cortez, Extremities, Dominick and Eugene, Triumph of the Spirit, and Caught.
Mr. Young’s numerous awards include: Cannes’ Camera d’Or, San Sebastian’s Golden Concha for Best Film, Cuba’s Golden Coral for Best Film, Venice’s Primo San Georgio and The City of Venice Prize, an Emmy, a Peabody Award, two George Polk Memorial Awards for Journalism and an Academy Award Nomination for Children of Fate: Life and Death in a Sicilian Family which also won the Grand Jury Prize at Sundance. Mr. Young has also been awarded a Guggenheim Fellowship.
One of his earliest documentaries, Secrets of the Reef was named by Time Magazine “one of the ten best films of the year.” And his film for CBS: Eskimo: Fight for Life, won an Emmy… read more
and the train trip sequence, with its elliptical, heart breaking ending, just blew my mind.
I was disappointed by El norte, a nice film but a little too ambitious for its own sake, and definitely bad acted. This film instead has given me all that I expected from the other. Great acting, a powerful camera work (how i wish that handheld camera today could still be relevant in order to describe characters feelings or directors point of view and not just a stilish tool used vaguely in order to appear realistic)
Not quite sure when this was added. But surprised that there are no fans as of yet. Definitely needs to be seen in light of America's recent fad of xenophobia, which switches around from one group to another every five years or so.