La Familia


Father and son are on the run.

(2017) Drama (Celluloid Dreams) Giovanni Garcia, Reggie Reyes, Kirvin Barrios, Indira Jimenez, Ninoska Silva, Vincente Quintero, Mariû Favaro, Dixon Dacosta, Tatiano Mabo, Alberto Gonzalez, Morris Merentes, Natacha Pérez, Luis Domingo Gonzalez, Sahara Alvarez, Jesus Rivas, Andy Duque, Miguel Angel Suárez, Franlys Diaz. Directed by Gustavo Rondón Córdova

The economic woes in Venezuela have brought that nation to the brink of collapse. What does that mean to those that live there however? For the wealthy, it’s pretty much business as usual. For the poor of Venezuela, the effects are devastating.

Pedro (Reyes) is poor. He’s a 12-year-old boy who doesn’t attend school which doesn’t seem to alarm anyone. He lives in one of the more impoverished districts in Caracas, the capital. His father Andreas (Garcia) is a day laborer, working whatever odd jobs he can find to squeak by. His mother is nowhere to be found; whether she is dead, deserted or divorced the movie never quite elaborates.

Pedro, essentially growing up without any supervision, runs around the streets with a group of kids, each trying to prove how much tougher they are than the rest. Pedro mostly pals around with Jonny, his best friend. One afternoon they are accosted by a kid with a gun who attempts to rob them of the cheap cell phone they found. Pedro, never one to take anything lying down, gets into a fight with the would-be robber. It ends badly for the young kid.

When Andreas finds out, he knows what he has to do; get the heck out of dodge. He knows that the kid that Pedro hurt has relatives who are in the gangs that run the ghetto, and they are going to make an example of both Pedro and his dad. Andreas takes a reluctant Pedro to a different part of the city and tries to earn as much money as he can so that they can get out of Caracas forever.

But that isn’t going to be easy. Pedro is headstrong and has zero respect for the work ethic of Andreas. For his part, Andreas is not above stealing some bottles of booze from the catered parties he works as a waiter at from time to time when his mostly construction work is done for the day to resell for a little extra cash but otherwise prefers to walk the straight and narrow, preferably crouched down under the radar. Pedro prefers to stand up straight and tall and take on all comers, bowing and scraping to nobody.

The two get along about as well as two brood bulls in a paddock full of cows. Pedro wants to go back to where he belongs; Andreas wants something better and knows he will never find it for himself. Something’s got to give.

This is a terrific character study in that both Andreas and Pedro are given richly developed personalities of the kind we rarely see in the movies anymore. Neither one is cliché and neither one is easily summed up. Neither Andreas nor Pedro can be put into a specific box; they are both complex and imperfect. Much of the realism of the film – which was filmed in some of the worst crime-ridden areas of Caracas – is owed to how well the two main characters are shaped.

Garcia, a celebrated stage actor in Venezuela who has done some memorable film roles as well, owns the screen. His gaze is that of a frightened lamb who knows the slaughterhouse is nearby. His eyes dart from place to place, but he seems to find peace and satisfaction in working hard. Eventually the joys of receiving a paycheck begin to affect Pedro who starts out as a tough guy but shows layers of depth as the film wears on.

.The tone here is pretty bleak, not just for Pedro and Andreas but for Venezuela as well. While Córdova isn’t pointing specific fingers here, there is no escaping that this is a parable for his country from the corruption to the crime to the hopelessness. The realism inherent in this film is sobering and smacks of truth. I can’t speak directly to the situation in Venezuela but I know poverty and how it affects of the souls of those afflicted by it and that’s where this film soars. That this is a first feature for Córdova is impressive; no doubt so long as he doesn’t get into hot water in his native land he is going to be a major talent coming out of Latin America. This movie is a triumph from beginning to end.

REASONS TO GO: The father-son dynamic is caught perfectly. The life lessons here are hard-earned – as they are in real life.
REASONS TO STAY: Some may find this film to be too bleak.
FAMILY VALUES: There is some violence and profanity as well as sexual content and adult themes.
TRIVIAL PURSUIT: Reyes was discovered by casting personnel for the film while playing soccer in a middle class neighborhood in Caracas.
CRITICAL MASS: As of 3/25/18: Rotten Tomatoes: No score yet. Metacritic: No score yet
COMPARISON SHOPPING: Running Scared
FINAL RATING: 7.5/10
NEXT:
Maze Runner: The Death Cure

El Amparo


This is what a thousand-yard stare looks like.

(2016) True Life Drama (FiGa) Vicente Quintero, Giovanni Garcia, Vicente Peña, Samantha Castillo, Rossana Hernández, Angel Pájaro, Tatiana Mabo, Rosso Arcia, Jesús Carreño, Aura Rivas, Patrizia Fusco, Dixon Dacosta, Luis Domingo Gonzalez, Diego Guerrero. Directed by Rober Calzadilla

It is a fact of life that the wealthy and powerful have always determined what the truth is. After all, the poor and powerless tend to be the victims or at least are set up to be. The official version of the truth always needs to be questioned because the official version is rarely the complete truth.

In the small village of El Amparo in Venezuela near the Colombian border, a group of 14 friends took a boat out onto the Cano Del Colorada where they are told that there is some good fishing to be had. The next day when the men hadn’t returned, their nervous wives begin to make inquiries of Police Chief Mendieta (Peña). With a small force, there’s not a lot he can do but when he gets a report from a local rancher that two muddy and badly terrified men had crawled out from the swamps onto his ranch, Mendieta drives out there to pick up the two men.

It turns out that they are Pinilla (Quintero) who organized the fishing trip, and Chumba (Garcia), a young man who prefers to party rather than work. They tell a terrifying tale of the peaceful fishermen being shot up by Venezuelan military without provocation. The military for its part doesn’t deny killing the men but insists that they were guerrillas come from Columbia to set a bomb at a local oil refinery.

The town is stunned. It is a tiny little village where everyone knows everyone else. While there are some who believe the government’s account, the rest of the villagers are suspicious particularly Pinilla’s shrewish wife Rubita (Fernandez) and Chumba’s long-suffering girlfriend Yajaira (Castillo). Soon, the village is put under intense pressure to convince the men to change their story and admit to being terrorists. Bribes are offered and threats are made. Will the two men give in and take short prison sentences for the good of their village and their families or will they stick to their story which they insist is true – and which eventually forensic evidence would back up.

This is based on an actual incident that took place nearly 30 years ago. To this day, the two men who survived have been essentially classified as Colombian guerrillas and spent a lot of the past three decades exiled in Mexico, still proclaiming their innocence and demanding a fair trial. To date that hasn’t happened and it’s unlikely to happen at this point.

The movie was originally a stage play, adapted for the screen by Karin Valecillos who co-wrote the play with Calzadilla who makes his feature film directing debut here. Calzadilla does an excellent job of capturing the flavor of daily life in a rural impoverished village in Latin America. The first part of the film is really the best part as Calzadilla sets up the close ties of the residents of El Amparo and the earthy humor of its inhabitants. Life doesn’t seem half bad in a lot of ways here at all.

The massacre, like a lot of important events in the incident, takes place off-screen which allows the viewer to use their own imagination to supplement the movie. I liked that at first but a lot of things take place off-screen afterwards as well and eventually the viewer feels disconnected from the events of the massacre and its aftermath. The middle third of the movie after Chumba and Pinilla return and are jailed drags somewhat; most of the action consists of the two prisoners talking to each other in jail and being visited by their wives in jail. This is the part of the film that feels most like a stage play.

The denouement is a bit abrupt and leaves the viewer wondering what happened. There is a little bit of information given but the official version has never been investigated and likely never will be. The distribution of this film is likely to be mainly film festivals and unless some sort of miracle happens will not serve as the springboard to put pressure on those in power in Venezuela to come clean and give this town which was crippled by the loss of so many of its sons some closure.

The movie has some powerful moments – most notably when the worried wives finally realize that their husbands are never coming home – but not enough to really classify this as a great film. The tone is curiously subdued considering the subject matter and does little to inspire the outrage that it should. While it creates a sympathetic portrayal of the people of El Amparo, we never truly get a sense of how seriously the government screwed them. There is a great movie to be made about the events of the massacre of El Amparo; this is merely a good one.

REASONS TO GO: Just enough is left to the imagination. A very believable portrayal of how the massacre affected the town. The cinematography is beautiful.
REASONS TO STAY: The ending is a bit abrupt. It loses steam in the middle.
FAMILY VALUES: There is some profanity.
TRIVIAL PURSUIT: The film’s world premiere was actually here in the U.S. at the AFI Latin American Film Festival last September.
CRITICAL MASS: As of 3/10/17: Rotten Tomatoes: 100% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: Matewan
FINAL RATING: 7/10
NEXT: Cargo