Sans signe particulier

Sin señas particulares (2020) is a Mexican film shown in the U. S. with the title "Identifying Features." (The literal Spanish translation is "No Particular Signs.") The movie was co-written and directed by Fernanda valadez.

The film stars Mercedes Hernandez as a mother trying to find her son. He has left home with a friend to try to cross the border into the U. S. The friend is dead, and her son's backpack has been found. However, her son's body has not been discovered.

The trailer for this film shows the truth, but not the whole truth. We know immediately that this will be a difficult and desperate search. The question for us is whether she will find him.

However, the movie itself is much more than that. It holds your attention from start to finish, and the plot is not simply what you expect.

Mercedes Hernandez is a superb actor. Fernanda valadez knows how to utilize the skills of Hernandez to their best effect. (The editing is sometimes jarring, but the plot sorts itself out each time.)

We saw this movie on the small screen, where it worked well. We watched it as a screening from the DC Labor FilmFest. Identifying Features has a solid 7.4 IMDb rating. I thought it was even better than that, and rated it 9.

A vivid depiction of the struggle and the journey some take upon them ... for a better life. Words that meant nothing aside (from the 45th president of the USA), this is a struggle that is real. A struggle that may make you realize that there are humans involved.

A tough movie to watch (mainly because of its slow pacing, but also because of what it reveals from and about its main characters). Almost told like a documentary, the movie lets us follow the characters on their journey (or revisit it) ... both quite literally. The images will haunt some (many I assume), especially the faint hearted.

If you think your life is hard, try to walk in their shoes ... pun somewhat intended.

Great debut for the director Fernanda Valadez - it was definitely uniquely told story, that feels as real as it gets. The cinematography is bleak and heavy but no complaints about the quality of it, except some filler shots of sky and grass... her choice of close-ups, angles, blurs, got us close to the real viewpoint of the mother searching for her son and felt quite authentic.

Sadly, you could notice the short film material dragged out to 96 minutes, and it felt so much longer with its snail paced scenes... I understand that added to the dramatics but if was painful!

So, I would recommend it for one off watching, and prepare yourself - it will seem long!

Newb filmmaker and writer Astrid Rondero, along with newb writer and director Fernanda Valadez - with two prior short films and this being her first full length feature film, present us with a uniquely told story, that feels as real as it gets. The cinematography is excellent, and Valadez's direction and choice of close-ups, angles, blurs, etc, make it feel like your are walking in the mother's shoes.

This is by no means anything close to a Hollywood-style production, but instead uses tons of scenery and some flashbacks to tell an eerie story, as you travel throughout the film, in the mother's shoes. The casting and performances were plain with nothing exceptional, albeit feeling that much more authentic. The score was subtle and fitting.

My biggest issue was that a normally comfortable 95 min runtime, felt like 3+ hours with the forever-long and dragged out (and in most cases unnecessary) scenes. The pacing couldn't be any slower. I get that the filmmakers were trying to get you invested in the feel for the story, but there just wasn't enough substance to fill 95 mins, even if the pacing was fast. I'm sure many can handle slowly paced films, but I'm not one of those people. I feel at least 40 mins could/should have been trimmed off - bits here and there from pretty much every scene, and the pacing sped up, and it would've been an outstanding short film, told in the same manner, just faster without making the viewer (me) impatient. You can pretty much fast forward 70% of the "traveling" portions, and end up with the same results.

Nevertheless, and outstanding production from newb international filmmakers, and it's a story that needs to be seen, told in its unique way. If you're patient, you will love this film, but it wont be a "must see again" film. It's a 7/10 from me.

Numerous aspects of this film are outstanding.

The cinematography is breathtaking, the camera capturing what is beautiful in the borderland. For once, justice is done to the nuanced flora, fauna, terrain, and architecture of this region so plagued with one-dimensional portrayals. And it shows the beauty of the people. Yet this only serves to intesify the first-person experience of what violence ravashes so beautiful a place. By grounding a story of Hell in lush Eden, the filmmakers humanize a narrative that would otherwise be overlooked by reductive stereotypes.

Symbolic imagery is worked into the narrative with truly uncommon delicacy: scenic shots of upside down landscapes and a profaned church are together a meditation on the desecration of the land. Intentional closeups on faces are icons. The one unholy icon was appropriately vile - meaningful in light of the smoldering spirituality of this film.

Most impressive of all, however, is the bravery of the filmmakers to create such an honest portrayal of the cartels. It is thoroughly damning in every sense of the word. One is left to wonder how they navigated the filming process - the real border, government and cartel checkpoints, all in an area that is, at present, actually controlled by the cartel. Are those involved with the film currently safe? It undoubtedly took immense courage to take on such a risk, when mum's the word, as the film so unflinchingly shows.