Simon

In "Simon," director Diego Vicentini embarks on a bold journey to unravel the intricate layers of Venezuela's current turmoil, crafting a narrative that resonates deeply with those familiar with the country's harrowing reality. At its core, the film aims to shed light on the dire circumstances faced by students and the ruthless suppression by the government against those who dare to oppose its reign. It's a commendable endeavor that seeks to bring the forgotten paradise of Venezuela to the forefront of global consciousness, now a shadow of its former self, mired in devastation.

The movie does an admirable job of encapsulating the tragedy of the Venezuelan people, many of whom have been forced to flee their homeland. Through the lens of "Simón," viewers are offered a glimpse into the collective struggle of a nation, as well as the personal stories of resilience and despair. The choice to base the narrative on true events lends an authenticity to the film, making it a potent reminder of the ongoing fight for freedom and justice within Venezuela.

However, for an international audience, "Simón" might not hit the mark as intended. While the film's ambitions are clear, its execution often feels amateur, particularly in terms of acting and production values. This aspect might detract from the overall impact for viewers unfamiliar with the Venezuelan context, potentially overshadowing the poignant message at its heart.

For those close to the Venezuelan crisis, "Simón" will undoubtedly strike a chord, serving as a moving tribute to the resilience of the human spirit in the face of adversity. To the international audience, it offers a valuable, if somewhat flawed, insight into the realities of a nation fighting to reclaim its identity and dignity.

"Simon" may not be perfect, but it is a necessary film that highlights the urgent need for awareness and support for Venezuela. It's a reminder that behind the headlines are real people enduring unimaginable hardships, deserving of the world's attention and empathy.

Vicentini's script is extraordinary, very well done, rounded. It is not a predictable story. Martínez's cinematography elevates the script with its beauty and softens the strongest scenes. Very good performances, especially Mcgaffney's, who carries the weight of the entire film.

Special mention for Virguez, who despite his short participation, his character remains embedded in the memory of those who watch the film. "Simón" is very well produced/cared for by González and Rasquín. Sheinfeld's music is beautiful, he understood the script perfectly and takes it to another level.

The direction is incredible, and even more so taking into account that it is Vicentini's debut film (the one directed when he was 27 years old). The editing (also by Vicentini) achieves a perfect meshing of the story, which moves between present and past.

Regarding the subject, "Simón" manages to strike a very sensitive chord not only for Venezuelans, but for anyone who is empathetic with issues as complex as migration and the violation of human rights.

Excellent combination of well-made cinema and relevant subject matter.

This is the movie on everybody's mouth right now in Venezuela.

It deals with one of the most, if not the most trying, horrifying and heart wrenching moment in Venezuelan history, which were the 2014 and 2017 protests when hundreds of young people (most of them students) were mercilessly killed by the national army.

Well, the movie doesnt depict those moments, it just shows you glimpses of it, as the movie is about a young man who participated in those protests and then moved to Miami, and now he is dealing with PTSD, basically.

Even though I am Venezuelan and I lived through those times, the film didnt really impacted me emotionally for the most part.

I think maybe it was the lack of Venezuela in general, as the majority of the movie takes place in Miami. There's only one shot of Caracas, and then the scenes that take place in Venezuela happen in a run down abandoned horrible place where our protagonist was held captive.

The monologue by Franklin Virguez was definitely the highlight of the film. The lighting in that scene, everything was terrifying. The protagonist's acting was pretty good too.

But in general, I think it lacked contrast, it would have been more effective if they showed some happy times in our protagonist's life in his home country and they should have definitely added his parents to the story since dozens of parents lost a child during those protests, and many of them were constantly on the news.

I also was not sold on the action of the film being the whole situation with the medicine.

I dont know, I think this movie is by Venezuelans for Venezuelans, it really doesnt have that universal thing about it, it feels way too specific, if that makes sense.

And that universal aspect is precisely the amazing thing about movies. You can watch a movie that has absolutely nothing to do with you or your country, that was made in a time when you weren't even born, and that movie can resonate with you in ways you Never imagined.

But as I mentioned in the title, this film will probably only resonate with venezuelans for the most part.

And it is the type of movie people will love simply because of the subject matter, not because the movie itself is actually great.

From its captivating narrative to its exceptional performances and stunning visuals, this film is an absolute masterpiece that deserves all the praise it receives.

One of the most notable scenes of the film was SIMON's last act with Chucho; It was a brilliant script. The story is a perfect combination of moving and thought-provoking moments, creating a deep emotional connection with the characters and a vision of the reality that Venezuela experiences. The character development is top notch and you will find yourself completely invested in his journeys.

The cast delivers exceptional performances, with each actor bringing their respective roles to life. SIMON is nothing short of phenomenal and conveys a wide range of emotions that will tug at your heartstrings.

DIEGO VICENTINI has really outdone himself with this film. His direction is masterful and the pace keeps you engaged at all times.

In short, SIMON is a must see. It is a triumph in storytelling, acting and cinematography. It is a film that will make you laugh, cry and reflect on the human experience. I can not recommend it highly enough; is a true cinematic gem that will stay with you long after the lights go up in the theater.

"Simón," a film that delves deeply into the harrowing realities faced by Venezuelan asylum-seekers, is not merely a narrative but a profound illustration of the human condition under political strife. Directed by Diego Vicentini, the film transcends typical storytelling by weaving a deeply personal and political tapestry that reflects both his experiences and those of millions of Venezuelans.

The protagonist, Simón, portrayed with stirring authenticity by Christian McGaffney, is a Venezuelan youth entangled in the political turmoil of his country. He is a symbol of resistance and fear, embodying the dualities of courage and vulnerability. Simón's journey from Venezuela to the United States is fraught with emotional and ethical dilemmas, chiefly his agonizing decision over seeking asylum, which would mean safety at the cost of severing ties with his homeland and the cause he cherishes.

Jana Nawartschi, in the role of Melissa, a diligent pre-law student, becomes Simón's confidante and legal aide. Their evolving relationship is depicted with nuanced performances, highlighting the personal dimensions of global crises. This interpersonal dynamic adds layers to the narrative, illustrating the intricate web of human relationships affected by political decisions. The film benefits immensely from Vicentini's direction, where his personal narrative as a Venezuelan expatriate enriches the film's authenticity and emotional depth.

"Simón" is remarkable not only for its narrative but also for its technical prowess. The director employs a blend of archival footage and dramatic reenactments, bridging historical context with personal stories, thus grounding the film in reality while amplifying its emotional impact. The cinematography is notably rich and immersive, using a palette that reflects the intense emotions and stark realities of the protagonist's world. Scenes are crafted with a keen eye for detail, where even the most subtle expressions and mundane environments contribute to the overarching narrative of struggle and resilience.

Moreover, the film introduces experimental storytelling elements that recall the visceral impact of films like "Fight Club." These techniques are not mere aesthetic choices but are purposefully utilized to enhance the narrative's impact, bringing the internal chaos of the protagonist's mind into the visual field, thereby making the personal political and the political personal.

The director's choice to incorporate real footage of protests and unrest in Venezuela serves as a powerful reminder of the film's grounding in real events, lending it a documentary-like authenticity that is both enlightening and harrowing. This approach not only educates the audience about the Venezuelan crisis but also compels them to empathize with the plight of the film's characters and, by extension, all those who have lived through similar experiences.

"Simón" culminates as a poignant exploration of freedom, sacrifice, and the indomitable human spirit. Its portrayal of the complexities of asylum-seeking highlights the nuanced realities behind headlines and political rhetoric, offering a deeply human perspective on the implications of such life-changing decisions. The film's emotional resonance is amplified by its rich visual storytelling and compelling performances, making it a significant cinematic achievement that speaks to a broad audience about the critical themes of our time.

Overall, "Simón" is not just a film but a compelling call to awareness and action-a cinematic piece that resonates with the urgencies of contemporary global issues, making it a vital watch for anyone interested in the intersections of film, politics, and human rights, or the lack of it like in the case ok all dictatorship countries like Venezuela, Cuba and North Korea.