Son of Monarchs


We all yearn thttps://sonofmonarchs.com/o emerge from childhood as a beautiful butterfly.

(2021) Drama (Warner Media/150) Tenoch Huerta, Alexia Rasmussen, Lázaro Gabino Rodriguez, Noé Hernández, Paulina Gaitán, William Mapother, Juan Ugarte, Electra Avellán, Angelina Peláez, Emily Keefe, Jay Potter, Jarod Lindsey, Wendy Heagy, Daniel Fuentes Lobo, Gadi Rubin, Rich Miglio, Gisell Rodriguez, Maia Vogel, Fernanda Rivera, Maria Luiza Ceglia. Directed by Alexis Gambis

 

Butterflies are creatures of intense beauty and fragility. Their colorful wings delight us, and their migratory patterns can astound us. Butterflies have always been used as a metaphor, a desire that we harbor to emerge from our chrysalis – whatever it may be – as a beautiful, bejeweled butterfly and (hopefully) not as a dull, drab moth.

The parents of Mendel (Huerta) must have had great expectations for their son, naming him for a Czech scientist, but they didn’t live to see it happen, dying senselessly during a flood. This left Mendel and his older brother Simon (Hernández) orphaned, to be raised by their grandmother (Peláez) and a assortment of uncles. Mendel eventually left the tiny village nestled in the mountains of Michoacán where millions of monarch butterflies spend the winter to study the butterflies as a biologist for a lab in New York. Simon stayed to work in the mines and raise a family; Simon hasn’t forgiven Mendel for leaving Mexico and leaving Simon alone to cope with the grief.

But Mendel returns for the funeral of his grandmother to find that while most of his family is overjoyed to see him, particularly his niece Lucia (Avellan) who wants very much for her uncle to return for her wedding later in the year. Her father, Simon, is less happy to see Mendel and can barely keep a civil tongue in his head when his brother is around.

Back in New York, Mendel is introduced to Sarah (Rasmussen) who works for a non-profit and is a recreational trapeze artist (is that really a thing?) and the two begin to spend a lot of time together. Mendel can’t get over the ease with which Sarah flies through the air; this must be what it’s like to be a human butterfly. He also begins to experience vivid flashbacks of the horrible day in which his parents perished.

Although Mendel is reluctant to return to Michoacán, he eventually decides to do so, knowing that he and his brother must confront the things separating them that keep them from soaring through the winds like the brightly colored insects they both love.

Gambis, who is not only a filmmaker but also holds a PhD in biology, has a lyrical bent that is shown at various times in the film, as when a young Mendel is covered in a sea of orange and brown monarchs, or showing the beauty of the landscape surrounded by desolation wrought by the greed of men.

His script has some interesting points, but has a tendency to get bogged down on minutiae, so there isn’t the kind of flow you would like to see in a film like this. He is constantly throwing in dream sequences and flashbacks which also disrupt a film that needed a gentle rhythm. Finally, the whole use of butterflies as a metaphor is overused to the point of dreariness.

And these are large issues indeed, but not insurmountable ones and in fact the movie more than makes up for them with compelling performances by Huerta and Hernández, whose chemistry as two brothers, once close but now wary of each other and unsure not only how they got to this point but whether they can get back to what they once were at all. The two have a confrontation near the end of the film that is absolutely riveting and highly emotional; it is the highlight of the film and the centerpiece for it in many ways.

Cinematographer Alejandro Mejia fills the screen with bright butterfly-like colors, while Cristóbal Maryán contributes a score that is delicate and beautiful. The simplicity of life in the village is alluring when contrasted with the hectic pace of life in the Big Apple, although some may find that more to their liking. I found myself succumbing to the charms of the film despite its flaws, and perhaps even because of them. This is a very impressive first film for Gambis.

The movie is in the midst of a brief limited run in New York, Los Angeles and a handful of other cities. It will arrive on HBO Max on November 2nd.

REASONS TO SEE: Beautifully shot, beautifully scored. The heat between Huerta and Hernández is realistic and powerful. The sequences of village life are lovely. A wonderful examination of the difficulties for even legal immigrants in America.
REASONS TO AVOID: Leans a little bit too much on flashbacks, butterfly metaphors and dream sequences.
FAMILY VALUES: There is some profanity and adult themes.
TRIVIAL PURSUIT: The film won the prestigious Alfred P. Sloan Award at this year’s Sundance Film Festival, which is given annually to the festival entry that focuses on science as a central theme or scientists as central characters.
BEYOND THE THEATERS: HBO Max (starting November 2nd)
CRITICAL MASS: As of 10/19/2021: Rotten Tomatoes: 90% positive reviews; Metacritic: 76/100.
COMPARISON SHOPPING: Identifying Features
FINAL RATING: 9/10
NEXT:
Cleanin’ Up the Town: Remembering Ghostbusters

White Sun (Seto Surya)


You know you’re in trouble when your ex-wife brings soldiers to the party.

(2016) Drama (Kimstim) Dayahang Rai, Asha Maya Magrati, Rabindra Singh Baniya, Sumi Malla, Amrit Pariyar, Deepak Chhetri, Deshbakhta Khanal. Directed by Deepak Rauniyar

As we get older, we tend to like things to stay the way they are. Change frightens and confuses us. We find those who advocate change to be untrustworthy.

In Nepal, a civil war that lasted from 1996-2006 divided royalists, who believed in Nepalese traditions and Maoists, more progressive sorts In the tiny village of Nepaltra, the war decimated the village leaving few men other than the village elders and the town doctor Suraj (Baniya), the son of the former mayor and a Royalist himself. When the ex-mayor passes away, Suraj’ brother Chandra (Rai), an insurgent who now lives in Kathmandu, is summoned to help carry his father’s corpse down to the riverside where it will be burned according to longstanding village traditions.

Chandra – who was known as Agni during the fighting – and his brother fought on opposite sides during the Civil War and the enmity between them is boiling just under the surface. Making matters worse is Chandra’s ex-wife Durga (Magrati) whose daughter Pooja (Malla) is not Chandra’s. She’s not willing to divulge the details of her paternity and Suraj is one of the possible candidates. Pooja herself is hoping that Chandra is her dad. Durga needs Chandra to sign paternity papers acknowledging that Pooja is his even though she is not; without that signature, she can’t get the schooling that Durga desperately wants her to get. Complicating matters is street urchin Badri (Pariyar) who rumor has it is Chandra’s son.

While carrying their father’s body down to the river, Chandra and Suraj snipe at each other until the anger boils over and the two come to blows. Suraj walks off in a huff and it is up to Chandra to find suitable pall bearers as the remaining men are too weak and feeble to carry the corpulent corpse’s body down the mountain to the river. Accompanied by Pooja and Badri, Chandra goes to neighboring villages to find someone willing to help him carry his father’s body the rest of the way to his final rest.

Rauniyar is an emerging talent from an unlikely cinematic base but when you consider the kind of background scenery he has to work with and the richness of the Nepalese culture, things fall into place. Rauniyar takes advantage of both of those elements here as he creates a movie that is beautiful, lyrical and thought-provoking all at once.

The beauty is courtesy of cinematographer Mark Ellam but given the dramatic scenery of Nepal he certainly has a leg up but the movie isn’t all about pretty pictures. This is a movie about the clash of traditions and progress, as an ancient culture tries to find its way in a world that is changing rapidly. Some of the changes are frankly welcome; Durga is despised in the movie because she is not only a woman but one of a lower caste. She is not even allowed to touch the body of her ex-father-in-law who she has been caring for during his final illness. There are many strictures in the daily life of the village that are senseless and a bit misogynist.

But it’s exactly that thinking that has to come under some consideration. In an era of cell phones and social media who has the right to tell someone that their society has to change? While I agree that things that are discriminatory and keep people from realizing their dreams should change, the rhythms of life that have been there for centuries can be a tricky thing to adjust to modern rhythms.

But that’s not what the Nepalese Civil War was about, of course. It was a determination on how they wanted to be governed and while the Maoists won out, the Royalists continue to seethe and certainly the division between Chandra and Suraj illustrates that. One of the more fascinating studies is the village priest (played by Deepak Chhetri) who worries that the identity of the villagers will be lost as their traditions disappear. It is not an unjustified fear.

The movie is powerful and emotional and while you might think that the grief over the loss of the father would be central to the story, it really isn’t. Suraj exhibits more grief over the loss of his culture than any for his dad, although he sees his father as representing the best of the village culture. Chandra, who is a good man for the most part, does seem to regret having left his home although one also gets the sense he feels it necessary. He has been burned by previous relationships and although he is kind to both the children and his ex-wife, there are some walls up that likely have to do with how the relationship with his ex-wife and brother ended up.

This is a very human movie and while it isn’t always delightful there are some moments of quirky humor, such as the attempts to get the somewhat obese corpse out of a tiny upstairs window since it can’t pass through the front door of the house due to local tradition. There are some moments of great pathos. While I’m not a fan of the ending, it’s really the only thing in the movie that felt wrong to me and quite frankly I was pretty much alone in that thought at the screening I attended.

The performances here are top notch; Rai is one of Nepal’s most popular actors and he shows that popularity is completely justified. Magrati, who acted as the casting director for the film as well, also shows some chops as she takes the part of what could have been a shrewish ex-wife and gave it depth, dignity and sympathy.

This is the kind of movie I truly adore. Not only does it present a culture that I don’t know much about but it is presented in a way that makes me consider the pros and cons of village life in Nepal. It also makes me consider the similar battles between the traditional and the modern in my own culture. While you can make what allegories you will of this film, I think there’s enough here that is universal that will appeal to any moviegoer who has curiosity about other cultures. This is an early favorite for the best movie of the year.

REASONS TO GO: A powerfully emotional film depicting the clash of traditionalism and modernism. The cinematography is gorgeous. We get a glimpse at a culture that is rarely seen in the West. The performances from Rai and Magrati are terrific.
REASONS TO STAY: Some audiences may find it slow-moving.
FAMILY VALUES: There is some smoking and adult themes.
TRIVIAL PURSUIT: Both of the films Rauniyar has made to date take place over three days.
CRITICAL MASS: As of 5/3/17: Rotten Tomatoes: No score yet. Metacritic: 82/100.
COMPARISON SHOPPING: Departures
FINAL RATING: 10/10
NEXT: Beauty and the Beast (2017)