Sin Nombre (2009)
Sin NombreDirector Cari Fukunaga Written by Cari Fukunaga Starring Edgar Flores; Paulina Gaitan; Luis Fernando Pena; Tenoch Fuerta Majia; Diana Garcia; Kristina Ferrer
A stunning feature debut from Cari Joji Fukunaga, the 31 year old American (of 1/2 Japanese descent) writer/director responsible for Sin Nombre (which translates to Without A Name or Nameless). Fukanaga who grew up in California, and attended NYU film school, reportedly spent research time riding the trains with Mexican and South American immigrants on their way to illegally emigrate to the United States.
The visuals (shot by cinematographer Adriano Goldman) evoke the rich, vibrant colors of the landscape, but the beautiful green scenery is juxtaposed against the squalid living conditions endured by a portion of the Mexican and Central American population. The decision to use 35mm is an interesting one in the age of the mobile HD camera, especially with a story taking place in such rough terrain, and relying on a fluid verite’ feel.
Young Willy (Edgar Flores), AKA El Casper, is a member of the local chapter of the fearsome Mara Salvatrucha (or MS-13) gang led by El Sol (Luis Fernando Pena) and his brutal right hand man Lil’ Mago (Tenoch Huerta Majia), who sports a scary full facial tattoo. Obviously feeling the weight of the internal conflict over his participation in this life of crime and violence, the seemingly pensive Willy has a beautiful girlfriend Martha Marlene (Diana Garcia), who lives outside his neighborhood. Though he has been trying to keep her a secret from the gang and vice versa, Martha is becoming increasingly suspicious of his comings and goings. Willy also worries about new 12 year old gang recruit El Smiley (Kristian Ferrer), who has been assigned to him, although he is powerless to dissuade him from the life the young boy has already chosen/been sucked into.
At the same time a dual story unfolds involving a teenage Honduran girl, Sayra (Paulina Gaitan). Reunited with her father after a long absence (he has been deported from the U.S. and is seeking to return there), she is convinced by her uncle to travel with the two of them to the U.S. to join her father’s second family in New Jersey. Sayra is clearly less than overjoyed about making the arduous and dangerous trek, but her uncle prods her by pointing out that there are no opportunities where they are. Though the distance between Sayra and her father is evident, she is completely reliant on her two older and more experienced family members to see her through safely.
Heading north, they embark on a journey through Guatemela and Mexico, riding on the top of trains as their primary means of travel. They also encounter Willy and friends along the way, and it is here that the two stories intersect and become one. Through a series of events, Sayra becomes drawn to the nearly silent Willy, who is facing an uncertain future with the threat of death lurking around every corner.
Shades of the great El Norte from Gregory Nava are evident in this violent, tragic tale. Scenes taking place at La Bombia, a kind of way station, highlight the extreme poverty and the sheer numbers of those who attempt to cross over however they can in the hopes of a better life. The young, inexperienced actors are uniformly believable, and the relationship between the emotionally scarred Willy and the innocent, confused Sayra is sensitively composed. Sin Nombre was a big hit at Sundance in 08 (winning best director and best cinematography awards) and deservedly so. Fukunaga is a director to watch.