SIN NOMBRE: Humanizing Immigration Issues

Craig Detweiler — Sat, 21 Mar 2009 20:12:34 -0700

Why are so many people willing to risk so much to cross the American border? The award winning independent film, Sin Nombre, elects to show us, rather than tell us. It is a poetic portrait of a highly politicized issue. Filmmaker Cary Joji Fukunaga researched Honduran immigrants’ plight, riding cargo trains loaded with hope-filled sojourners. His resulting first feature is a beautiful and troubling trek towards the Rio Grande. It also immerses viewers in the brutal initiation rites of the Mara Salvatrucha. Started by Salvadorean immigrants in Los Angeles, Mara Salvatrucha’s network has now been exported (or rather deported) across Central America. Sin Nombre is a riveting story of escape and a haunting fight for survival. It is not recommended for the squeamish. But for those who want to get inside the immigrant experience, Sin Nombre puts a compelling face on those who often die ‘without a name.’

Sin Nombre begins in Tapachula, Chiapas, near the Mexican/Guatamalan border. Caspar, a teenage member of Mara Salvatrucha, is ushering a young boy nicknamed Smiley, into the gang. The local boss, Lil’ Mago, counts down each crushing blow that gets Smiley closer to membership. Innocence is more than lost. It is beat out of Caspar and Smiley. At times, Fukunaga’s camera seems too fascinated by the tattoos, blood, and brutality that surround Caspar. But eventually, Caspar comes to share our repulsion when Lil’ Mago commits a particularly heinous crime. He casts off his gang name and seeks to erase his identifying tattoos. “Caspar” is willing to die, so that his long buried origins as Willy may live.

The second story starts even further South with a trio of Honduran immigrants. A beautiful girl, Sayra, her estranged father and her uncle hope to reunite with their extended family in New Jersey. They bide their time between trains, rushing to climb atop box cars. They face threats from the elements, from gangs, from fellow travelers, until Willy comes to Sayra’s defense. Amidst considerable tension, Fukunaga captures moments of raw beauty. We see lush cemeteries, bustling train stops, and tasty local foods. But scenes of quiet reflection are soon interrupted by the bloodlust of Mara Salvatrucha.

Young actors, Edgar Flores (as Caspar) and Paulina Gaitan (as Sayra) make a remarkably compelling couple. Our heart breaks for adolescents shoved into survival mode. They share a single moment of respite in a church, transformed into a safe house for immigrants. Sin Nombre extends so much respect and empathy towards those who undertake such a challenging journey. The film avoids overt political commentary, deciding that as our respect and understanding for the ‘nameless’ rises, so will our compassion and embrace.

The 2009 Sundance Film Festival jury awarded prizes to both director Fukunaga and his cinematographer, Adriano Goldman, for their outstanding work. The lush visuals in Sin Nombre provide only fleeting relief from the pressure packed story. I had the privilege of talking to Cary Joji Fukunaga and his producer, Amy Kaufman about Sin Nombre. You can catch our interview from the Windrider Forum here. You’ll hear these young filmmakers demonstrate a commitment to their craft and a heart for humanity. They acknowledge how much faith informs immigrants’ risk taking journeys. But for Fukunaga, Sin Nombre is ultimately about family, about the unlikely bonds that form when our support systems are shredded. We’ll be hearing more from Fukunaga for years to come. Unfortunately, Sin Nombre is likely to only grow in heartbreaking relevance.

Sweetness at Sundance

Craig Detweiler — Wed, 28 Jan 2009 15:15:45 -0800

What an overwhelming week at the 2009 Sundance Film Festival. My brain was short-circuited after taking in fifteen devastating and delightful movies in five days. The cinematic experiences are so rich, so intense, and so frequent, that you cannot process all the emotions bubbling up.

Sundance reflected the many moods found at the inauguration of President Barack Obama. Plenty of the premieres dealt with sobering realities, from civil war in the Congo to security issues in Iraq. But a surprising number of films found hope amidst overwhelming circumstances. From schools in Harlem to the hillsides of Mongolia, the 2009 Sundance program offered a lightness of being that departed from previous editions. Several films were downright sweet. You can see video snippets from our week captured by Bill Kinnon and Jason Smart at the Windrider Forum.

We saw world premieres ranging from the existential anxiety of Paul Giamatti in Cold Souls to the warm hues of romantic comedies like Adam and Arlen Faber. Documentaries like Art & Copy explored the brightest minds behind the finest advertising, while Sergio canonized a fallen hero of the United Nations. On Saturday night, I caught the Grand Jury Prize Winning drama, Push. Based upon a popular urban novel by Sapphire, Push snapped me back to the inner city, reminding me how much hope endures within teen mothers despite the overwhelming odds against them. Gabourey Sidibe pours such courage and conviction into the character of Precious Jones. Lee Daniels’ rich and robust film, Push, deserved all the accolades that Sundance bestowed, lifting up “precious girls everywhere.” In the coming weeks (and even months), I’ll be drawing upon these movies, reviewing them when they reach the broader public, highlighting the memories and interviews we conducted with such passionate filmmakers.

For example, Taking Chance, starring Kevin Bacon, premieres on HBO, Saturday, February 21st. It is the most restrained and respectful requiem for a fallen soldier in Iraq that I have seen. Based upon the experiences of retired Lt. Colonel Michael Strobl, Taking Chance offers viewers a rare opportunity to reflect on the human cost of the war on terror. Such a dignified salute to our troops made Taking Chance a truly subversive risk amongst Sundance’s left-leaning audiences. Plan on using plenty of Kleenex. In the meantime, you can catch our discussion of this simple, moving drama at the Kindlings Muse.

I also had the privilege of interviewing filmmakers from four award-winning Sundance films including Cary Joji Fukunaga, director of Sin Nombre. Cary and his cinematographer, Adriano Gordon, won prizes at Sundance for this harrowing descent into Mexican gang culture and the heartfelt dreams of Central American refugees. Amidst our ongoing debates about immigration, Sin Nombre reminds us of the faith driving those who dare to cross the Rio Grande. We discussed this hard-hitting thriller with Cary Fukunaga and producer Amy Kaufman here. Focus Features opens Sin Nombre in select theaters on March 20th.

While Sundance remains a remarkable forum for independent filmmakers, it has taken some well-deserved criticism for selling out to sponsors and the star system. Films aren’t necessarily discovered at Sundance—instead they are unveiled in a calculated marketing push. It is easy to get cynical. But amidst all the commerce, a purity of vision still emerges. A documentary like Over the Hills and Far Away offers comfort to parents of autistic children. A British feature like An Education introduces a remarkable actor like Carey Mulligan. A Japanese director like Kanji Nakajima unveils an accomplished and transcendent debut like The Clone Returns Home. We unwrap Sundance like a gift, eager to see what’s inside. In 2009, the Sundance Film Festival offered a sweet and refreshing taste of hope.