Sangre De Mi Sangre

Mr. Zalla is a very good director, he gets wonderful performances from the actors and demonstrates a great sense of visual composition. However the writing is sloppy at best, the story does not hold water, is filled with inconsistencies and maintains a gruesome, almost sordid tone to a movie that could have said just as much about the condition of immigrants without stripping them of their humanity. That the characters are flawed is expected, but must they all be beyond hope of redemption? A day after seeing this movie, I am still making lists of all the details that did not add up or were entirely too coincidental for such an otherwise "realistic" movie. The soundtrack by Brian Cullman is excellent. One wishes there was more of it.

I saw this film at Sundance -- and was blown away -- it is a fascinating film and extremely well done. There are a lot of different ways to look at the immigration issue, but I think that Chris Zalla chose a unique path. However, what was so beautiful about this film is that it is not an immigration movie -- that is what I loved. It was a human story. A family story. Painful, but uplifting all at the same time. I was riveted by the actors, especially Paola Mendoza, who I think is incredibly talented. I hope that films like this can open up a dialogue about the immigration issue in this country, as I think that it is time for us, as a nation, deal with this problem. I look forward to seeing the film again.

This movie really really amazed me and also kind of renewed my faith in Mexican cinema, although it is set in New York. As mentioned on this page, I definitely saw it as a counterpoint to Under the Same Moon, and it even features one of the same actors. It shows the side of (illegal) immigration that turns respectful, principled people into criminals and liars (and vice versa I would say). In his book "Las peliculas de mi vida" Alberto Fuguet quotes an el salvadorian cab driver as saying that everyone in El Salvador is a criminal but once they reach the USA they are all about helping each other. This movie, of course, attests to the contrary. It forces viewers to question their views about the plight of illegal immigrants, obviously, but also raises questions about the idea of entitlement and family. I can't recommend it enough, not only to fans of Latin American cinema, but to any North American who wants to see how bad the illegal immigrant experience can be.

Also excellent performances by the whole cast, but for me Armando Hernandez stole the show. I had only seen him previously in "Amar te duele," so obviously this was a pleasant surprise for me, but he oscillates between mildly menacing and downright sinister and despicable in a performance that affected me more than anything I've seen in a while. I'm sure he'll be getting some roles worthy of him based on this performance. Honorable mention as well to Juan Diego and Paola Mendoza, they were great.

For me, this is the kind of movie that I want to show to everyone I know, just because it is the kind of movie that made me question many ideas held by Mexicans and North Americans about the American dream. I think that although it is a much darker picture of Mexican entrance into America, it does coincide with Under the Same Moon in that very strong ties, and sometimes even familial ties, are formed based on shared language and/or experience. Watch this movie!

SANGRE DE MI SANGRE (also known as PADRE NUESTRO) is a fast-paced, raw, and rather brutal indictment against the cruelty immigrants face upon entering this country. Written and directed by Christopher Zalla the film may cover territory becoming a bit overexposed in cinema of late, but the story is so well told and acted that it rises to the top of the films currently available about the experiences immigrants (from Mexico, in this case) endure in trying to better their lives under the torch of the Statue of Liberty!

The film opens in Mexico where a young criminal Juan (Armando Hernández) narrowly escapes his pursuers by jumping over the border fence and landing in a situation where a coyote (corrupt border guard) is loading his truck with immigrants to transport them for cash to New York. The street-wise Juan is one of many stuffed into a truck and happens to sit by a young illiterate lad his age named Pedro (Jorge Adrián Espíndola) who is on his way to meet his father who lives in New York ('a man who owns a restaurant') but whom Pedro has never seen (he carries with him a letter to his father from his recently deceased mother). Through all manner of staging errors and transportation glitches, the two young boys, full of dreams of a better future in America, land in New York. Juan loses his money and his ID and steels from his newfound friend. Pedro encounters a streetwalker named Magda (Paola Mendoza) who promises to help Pedro find his father Diego (Jesús Ochoa). But Jaun has found the dishwasher Diego first, claims to be his son, and causes confusion and discord in Diego's life. How the two lads manage to survive the complexities of life in Brooklyn and are swept up in the raw life of crime that surrounds the lives of illegal immigrants makes for a complicated story, but one filled with unforgettable characters and emotions.

This film had an unfortunately brief run in the theaters. It is a well-made film in every aspect and deserves wider audience which now, on DVD , it just may reach. Highly recommended. Grady Harp

The acting is unbelievable, almost as unbelievable as the plot. The movie advances its plot on coincidences and is not what I expected.

The director seemed to look for a convoluted plot to appear smart and gritty, but at the same time, one of the characters is so extremely naive. The message given at the end of the movie is that being cunning outweighs good intention, yet I wonder how did the good character was able to advance so far in a city such as New York.

Overall the plot ends taking everything down that the acting brings forward. Jesus Ochoa is a step above all the actors in this movie, and did as good as possible as his character let him do.