IMDb-BEWERTUNG
7,3/10
4443
IHRE BEWERTUNG
Das Leben in einer Stadt im Krieg aus der Sicht von drei jungen Mädchen auf dem Weg zum Erwachsenwerden.Das Leben in einer Stadt im Krieg aus der Sicht von drei jungen Mädchen auf dem Weg zum Erwachsenwerden.Das Leben in einer Stadt im Krieg aus der Sicht von drei jungen Mädchen auf dem Weg zum Erwachsenwerden.
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- 23 Gewinne & 36 Nominierungen insgesamt
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A bittersweet innocence exists among a group of young girls growing up in a drug-controlled country. One viewing of this excellent film will convince even the most stubborn-minded of the main reason that some of Mexico's inhabitants are fleeing to America to seek a better life.
Anna, Paula and Maria are three young girls growing up in a remote mountain town in the Mexican rainforest. Poppies are grown locally and harvested by the townspeople controlled by the Cartels. Life is precarious and the balance of power between Police, Cartel and Military is tenuous at best. This is impeccable Social Realist film with many captivating performances from non actors. If you like the genre you will like this one. 8/10.
Tatiana Huezo Sánchez who is best known for her documentaries, turns her attention to fiction with a coming of age drama based on Jennifer Clement's novel of the same title. It tells the story of Ana and her two best friends who discover a shocking reality - and a hostile world amidst the drug trafficking in Mexico. It gives a personal touch to something we hear at a distance on the internet. From the first moments of the film, Tatiana chooses to film this through the details, her camera focussing on the minutiae of the environment. She plunges us into an peaceful atmosphere, behind the lush green setup, we feel a discomfort and a lively tension underlying between the villagers. They depends on poppy harvest to make ends meet. There are semi-detached houses with hiding place and girls are made to sport boyish haircuts to escape from the eyes of human traffickers. There is absolutely no hope for the little girls and they tend to get worse as time goes on.
Initially, I was just expecting another usual documentary with realism tag, while storyline does follow the formula, its the treatment that appealed. It has a lot more than one would expect. It seems like a tearjearker war film, but when you dive into it you'll likely see a different pov. The pacing is easy and there is no rush on Tatiana's behalf to get to 'the story', as it were, but rather a strong sense of atmosphere and indulges the viewer through this lack of urgency. It contains an atmospheric and evocative cinematography by Dariela Ludlow Deloya. It is supported with subtle score by Jacobo Lieberman and Leonardo Heiblum. As well as adequate sound design by Lena Esquenazi.
Overall, it is a great proof that this film depicts childhood and adolescence of three girls is by no means exaggerated. It's blends early Jorge Silva, Marta Rodríguez, Alanis Obomsawin's style and is almost like a companion piece to Identifying Features (2020) and Birth Certificate (1961); both thoroughly bleak and does scream for help with no chance for hope.
Initially, I was just expecting another usual documentary with realism tag, while storyline does follow the formula, its the treatment that appealed. It has a lot more than one would expect. It seems like a tearjearker war film, but when you dive into it you'll likely see a different pov. The pacing is easy and there is no rush on Tatiana's behalf to get to 'the story', as it were, but rather a strong sense of atmosphere and indulges the viewer through this lack of urgency. It contains an atmospheric and evocative cinematography by Dariela Ludlow Deloya. It is supported with subtle score by Jacobo Lieberman and Leonardo Heiblum. As well as adequate sound design by Lena Esquenazi.
Overall, it is a great proof that this film depicts childhood and adolescence of three girls is by no means exaggerated. It's blends early Jorge Silva, Marta Rodríguez, Alanis Obomsawin's style and is almost like a companion piece to Identifying Features (2020) and Birth Certificate (1961); both thoroughly bleak and does scream for help with no chance for hope.
Mexico's official entry to 2022's Oscars is simple and slow-paced yet so emotional and tough. The story is heartbreaking, moving, flows smoothly and delivers so much feelings without any forced efforts. Performances are solid and real. Cinematography is stunning. It's not everyone's cup of tea though.
10aarpcats
Watching this movie reminded me of the blurry photographs of British children playing in the ruins of London during the Blitz. If a building were bombed today, the unsafe structure would be guarded by cops to keep the children from being buried in the rubble. But, when the city is being bombed every night, what's the difference in whether a child dies from bombíng or under a pile of loose bricks? War brings death and death becomes normal.
In the bucolic and gorgeous mountains of Jalisco, war is constant and unending. Flickering fire flies have been replaced by the lights of cell phones as villagers try desperately to get a call "to the other side" for money to leave. Staying means enslavement to the cartel and losing your daughters to brutal sex trafficking. Instead of bombs, the cartels and the useless police rain terror on the adults in the village. Everyone knows a dead girl, and everyone knows how to harvest opium. And everyone knows to run when the US helps Mexico spray chemicals on the poppy crops.
Yet, just as the London kids entertained themselves with soccer, school, story telling and friendships, so too do the children in the village in Jalisco. What terrifies their parents simply is business as usual to them. They can't help growing up in war, but they are growing up. They want to dance, go to rodeos, date - every day things that are death defying in Jalisco.
It's an excellent movie about how the human spirit survives the unthinkable.
I want to tie Americans to chairs to help them understand exactly what American drug habits, the War on Drugs and the crisis in Central America is doing to desperate, terrified people. I want them to understand that they aren't coming heee for handouts. I want them to understand that they are coming here to stay alive. I want them to see children burned with American pesticides.
The acting is astonishing, the cinematography brilliant and the story heartbreaking. And this story happens every day in Mexico.
In the bucolic and gorgeous mountains of Jalisco, war is constant and unending. Flickering fire flies have been replaced by the lights of cell phones as villagers try desperately to get a call "to the other side" for money to leave. Staying means enslavement to the cartel and losing your daughters to brutal sex trafficking. Instead of bombs, the cartels and the useless police rain terror on the adults in the village. Everyone knows a dead girl, and everyone knows how to harvest opium. And everyone knows to run when the US helps Mexico spray chemicals on the poppy crops.
Yet, just as the London kids entertained themselves with soccer, school, story telling and friendships, so too do the children in the village in Jalisco. What terrifies their parents simply is business as usual to them. They can't help growing up in war, but they are growing up. They want to dance, go to rodeos, date - every day things that are death defying in Jalisco.
It's an excellent movie about how the human spirit survives the unthinkable.
I want to tie Americans to chairs to help them understand exactly what American drug habits, the War on Drugs and the crisis in Central America is doing to desperate, terrified people. I want them to understand that they aren't coming heee for handouts. I want them to understand that they are coming here to stay alive. I want them to see children burned with American pesticides.
The acting is astonishing, the cinematography brilliant and the story heartbreaking. And this story happens every day in Mexico.
Wusstest du schon
- WissenswertesOfficial submission of Mexico for the 'Best International Feature Film' category of the 94th Academy Awards in 2022. It made the shortlist but did not end up nominated.
- SoundtracksCariñito
Written by Ángel Aníbal Rosado
Performed by Zindu Cano, Vivir Quintana, Alejandro Díaz, Leo Soqui, Rodrigo Garibay, Alfonso Figueroa, Leonardo Heiblum and Jacobo Lieberman
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- Laufzeit1 Stunde 51 Minuten
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