(2019) Drama (Animal de Luz) Martha Reyes Arias, Maximiliano Nájar Márquez, Leonardo Nájar Márquez, Cici Lau, Johnson T. Lau, Kevin Medina, Josiah Grado, Marvin Ramirez, Alejandro Banteah, Edwin Ramirez, Aylin Payen, Shacty Diaz, Maria Teresa Herrera, Amy Puente, Robert Louder, Celine R. Lopez, Jeanette M.. Loera. Directed by Samuel Kishi
Often, particularly these days, we see movies about immigrants from their direct point of view. If there are children, they are either separated from their parents or essentially secondary aspects of the story. We rarely see the immigrants’ story from the point of view of their children.
Lucia (Reyes-Arias) has come to Albuquerque from an unnamed Latin American country with her two children, Max (M. Nájar Márquez) and his little brother Leo (L. Nájar Márquez) in tow. They follow her as she looks for a place to stay, finally settling on a ratty furnished apartment where the Mrs. Chang (C. Lau), the landlady, doesn’t require references. The kids are mollified because their mother promises that they will go to Disney.
>However, she needs to work and she gets a pair of jobs that keeps her out of the house all day. She gives the kids a series of rules to follow, taped English lessons that they can listen to on a battered cassette player, and hope for the best.
Kids being kids, they get into all sorts of mischief, drawing pictures in crayon on the walls and generally making a mess for their exhausted mother to pick up when she finally gets home from work. Mostly, though, they get bored, the drawings of their alter egos the “ninja wolves” decorating the walls and what paper they can find (and there are some charming animations based on those drawings as well).
This is something of a personal film for Kishi, who also wrote the film who experienced very similar circumstances as a five-year-old child. His kids-eye view is helped by some surprisingly strong performances by the two child actors playing Max and Leo. Their performance is completely natural and they seem to relate very well to Arias as a mother-figure.
Kids being kids can be a double-edged sword; while it does feel authentic, there are times where it feels like you’re babysitting while unable to speak or communicate in any way with your charges. All you can do is watch them do their thing and your tolerance for this will depend on how tolerant you are at watching other people’s kids.
Still, this is a decidedly different viewpoint and one which deserves to be seen (and heard). I also found the ending to be enchanting and magical, although be cautioned that there are some moments which are far from either. Still, this is a solid and laudable effort that is likely to be making the rouds on the Festival circuit once things return to normal.
REASONS TO SEE: Mostly, kids being kids.
REASONS TO AVOID: There are stretches where it feels like we’re watching a nanny-cam.
FAMILY VALUES: The film is fairly family-friendly and might give kids the opportunity to look at kids from other cultures and how they react to the United States (or children of their own culture).
TRIVIAL PURSUIT: Max and Leo are played by real-life brothers who had no previous acting experience.
CRITICAL MASS: As of 3/14/20: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: The Florida Project
FINAL RATING: 6.5/10
NEXT: Inside the Rain