Pedro returns home to a small mountain village in Guerrero, Mexico after years of working in the US. He finds his daughters older, and more distant than he imagined. His wife still has the same smile. The villagers think this year’s crop will be bountiful, and there is work in a growing city nearby. But the locals are wise to a life of insecurity, and their thoughts are often of family members or opportunities far away, north of the border. —Semaine de la Critique
Calling it a film about migration reduces it to much less than what it is. At the same time it is a film which sets a very clear and limited frame (both physical and mental) in which it addresses multiple layers of emotion, family, politics and - of course - migration. It is at its strongest when it stays within that narrow framing and at its weakest (hospital scenes come to mind) when it goes more broadly.
Eis o drama do imigrante, o mesmo de outrora e de outros filmes: O drama, para entendermos, está fora de campo, sutil, claros aos olhos do protagonista, mas longe dos nossos. Sem gestos impostados, sem clamores, sem mentiras, enfim, sem mundo-cão, mas presente, aqui, ali, em cada plano, em cada cena, aos poucos, em tempo real. Brilhante. Comovente. Intenso.
Our annual round-up of all the posters for the main slate of the New York Film Festival.