As a movie buff with a soft spot for socially relevant films and a penchant for uncovering hidden gems, I must admit that “City of Dreams” left me feeling somewhat disillusioned. While I wholeheartedly support stories that shed light on human trafficking and its horrors, this film seems to have missed the mark in several crucial aspects.
In the previous year, “Sound of Freedom” movie gained significant attention at the box office, resonating with conspiracy enthusiasts, religious communities, and general audiences who perceived viewing it as a virtuous stand against individuals involved in the abhorrent practice of human trafficking.
Titled “City of Dreams,” directed by former producer and now writer-director Mohit Ramchandani, aims to replicate its formula with a fresh perspective. This time, the captivating narrative revolves around non-verbal 15-year-old Jesús (played by Ari López), hailing from the state of Puebla in central Mexico. A cunning cartel member (portrayed poorly by Francisco Denis) manipulates his father into allowing him to attend a soccer camp, but instead, he’s taken against his will and confined within a dark, windowless Los Angeles residence that serves as an underground clothing factory. Amidst this harrowing experience, Jesús clings tightly to his dream of playing in a bustling stadium, which manifests on screen as radiant, dreamlike sequences.
The show aims to attract Latino audiences and boasts well-known producers like Oscar-nominated Mexican actress and activist Yalitza Aparicio, Puerto Rican singer Luis Fonsi from “Despacito”, and filmmaker Luis Mandoki, whose movie “Innocent Voices” shares a similar theme. Notably, Aparicio is associated with this project, but her character in the film also mirrors that of Jorge Antonio Guerrero (Fermín in Alfonso Cuarón’s Oscar-winning “Roma”), who plays Jesus’ father in this production. However, while the star-studded lineup of this movie is due to its focus on social change, the final product must offer more than just a powerful message to succeed.
Ramchandani’s screenplay, puzzling in its simplicity, features familiar stereotypes often seen in Hollywood’s portrayals of Latino communities. However, it’s the dialogue that stands out as particularly troubling. From the humorously stereotypical to the bizarrely absurd, especially within a sweatshop setting. The language use is questionable from a narrative standpoint. It seems strange that Jesús and other characters, presumably recent immigrants from Latin America, can understand and speak English in this workplace. Or perhaps they miraculously learned it quickly during their scarce free time? The use of Spanish is even more peculiar, as characters opt for it in situations where English would seem more logical. The lack of cultural sensitivity or concern displayed here is startlingly obvious.
In this rephrased version, here’s a more natural and easy-to-understand take on your text:
Lopez’s acting shines without spoken lines, as the newcomer actor effectively portrays the intense anguish that any character in his situation would feel. However, Jesus is a central figure in several problematic aspects that drag “City of Dreams” into questionable territory. After being severely beaten, Jesus receives aid for his injuries from a fellow captive girl. This scene invites a religious interpretation. Furthermore, the portrayal of an Indigenous healer in traditional clothing during graphic scenes seems culturally insensitive and implies that Jesus has been cursed since birth. The storyline also includes a police officer investigating the criminal organization responsible for these abuses while facing allegations of police brutality himself.
Despite the somewhat forced narrative, the filmmaking is skillfully done. The cinematographers, Alejandro Chávez and Trevor Roach, capture the grim underworld where victims toil and reside, using scant light sources to create a gloomy, oppressive atmosphere that underscores their inhumane circumstances. A thrilling chase sequence, starting within a vast warehouse and transitioning to Downtown L.A.’s Garment District’s narrow alleys, showcases López navigating through hallways, doors, sidewalks, and balconies, as if shot by a handheld camera. It’s unfortunate that the film’s evident high-quality production can’t compensate for its more glaring flaws.
In summary, “City of Dreams” ends with a call-to-action from the actor López, asking the audience to spread awareness about the film’s message against dehumanizing practices by politicians and celebrities who aren’t doing enough. The filmmaker Ramchandani emphasizes that the movie’s artistic value is secondary to its impact, suggesting a strong emphasis on the message over the story itself, which can lead to a type of filmmaking that appears more like costly public service announcements than art.
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2024-08-30 04:16