Estrada para o Desconhecido

I immediately was attached to the characters, especially the amazing children, as this film provided an intimate glimpse into their life and perspective.

And then with a one-two punch, this film laid me flat. In a culmination that perfectly melds the earlier intimacy with a devastating realization, this film goes from touching to something I won't ever forget.

Then, at the last second, it reminded me that even in the darkest moments, there is still hope to be gleaned. Incredible writing, directing, and acting meshed into a film I will be thinking about even years from now.

In addition, I have rarely seen such true performances that represented childhood so well. The kids were amazing representation of how the children I know act in real life with all of the frustration and purity they bring to life.

Watched at the 2025 Sundance Film Festival.

Ouch, this movie really hits me hard. This movie is a good reminder of how life can still have it's beautiful moments despite it's devastating and dreadful moments life can be. Director Cole Webley perfectly captures the father and children relationship and the social realism that is explored throughout. How the reality can be a struggle due to the economic and social politics that are happening and having to witness a family going through this really hurts.

Presented with good camerawork, character dynamics and wonderful performances from John Magaro and the child actors. I am happy to see John Magaro getting more roles as he is a highly underrated actor who deserves to have more recognition. Alongside with some great nature dialogue, musical score and certain moments that did made me cry a bit. It pulls on the strings successfully.

The devastating landscapes what the characters are going through are both emotional and heartwarming. I love the social realism that the movie demonstrates without feeling manipulative or exploitive of its nature. With a short run-time, each moment was purposeful and realistic.

Overall, it's simple narrative successfully hits the punches.

It's a beautifully shot movie, filled with a palpable desperation from John Magaro and Molly Belle Wright. Wright gives a spot on performance of an eldest daughter forced to grow up too fast, who is too aware of the adult issues impacting her childhood and taking on more responsibility than a child her age should have to. Meanwhile, Wyatt Solis as the younger brother has the joyful ignorance of a child too young to yet understand what is happening around him and just rolling with life's big bounces. The way the movie connects to the title of the film introduces a whole new level of heartbreak. The movie is slow, giving viewers time to really soak in the feeling of confusion felt by Wright's character, and to a lesser extent Solis's.

Omaha reminded me that there is good in humanity even when we're at our lowest, even when we throw in the towel, there can still be beauty and it is often found through the eyes of a child.

While watching I had no idea what the ending entailed for this film, and you have to watch it through until the very end to know, but when you do it will tug at your heart and remind you to go through life with more compassion and love.

This is a road trip that stays with you. The performances, the writing, the cinematography. Every moment evokes adulthood and childhood simultaneously with stunning, near silent performances from John and Molly. Definitely worth a watch if you're looking for something to break out the kleenex.

Omaha (2025) Directed by Cole Webley

I was not ready for this heartbreaker, which just premiered at Sundance, so be warned.

Omaha will be particularly tough for parents, and the quality of the final cut according to Webley was in large part attributable to the fact that he, his screenwriter ('The Killing of Two Lovers' writer-director Robert Machoian), the DP (Paul Meyers), and the lead (Jon Magaro) are all fathers.

I knew in advance from the Sundance write up that this was a story about a father and his two children on a road trip following a family tragedy in stripped down intimacy "that forgoes overly written dialogue and plotting, instead providing space for the deep emotional depths experienced by this family" - a direct quote because I could not have said it better.

Other than the striking cinematography rich in texture and luminosity starting with the first frame and ending with the last, and an engaging musical score from a former member of a rock band, Webley relied on his cast - Magaro, and newcomers Molly Belle Wright (the daughter) and Wyatt Solis (the son) to power the punch. Webley's time spent selecting the children to play these roles was well worth it, and Webley noted in the Q & A that he allowed them a bit of improvisation away from the script.

I was happy to see Magaro in a solo lead role after being one of a few in September 5 (2024), one of three in Past Lives (2023), and completely underutilized in Showing Up (2022). He portrayed his character with so much intensity that I had an actual bpm response to his despondent moments even without the written narrative - his gaze of despair was enough. Wright and Solis were utterly charming, and never once did I feel like they were "acting" - they are naturals.

A caveat: after I watched the film, I read some professional critic reviews that would have completely diminished the impact.