Mountains Is a Quietly Magnificent Debut

As a film critic with a profound appreciation for cinema that delves deep into the human condition, I must say that Sorelle’s work in “Mountains” left me absolutely spellbound. The cinematography, production design, and art direction were nothing short of breathtaking, each frame a symphony of color and composition that beautifully captured the vibrant essence of Miami.

In his 1976 essay “The Devil Finds Work,” James Baldwin argued that movie stars like Humphrey Bogart are not appreciated for their acting skills but rather for the personas they embody on screen. While I don’t entirely share this perspective, it does raise an interesting point. Isn’t it enticing to witness a performance that transcends simple acting and feels more like the actor has become the character? It’s as if they stepped into someone else’s skin and brought their essence into being on screen. At its best, acting is simply being. This thought crossed my mind when I watched “Mountains” and the mesmerizing, understated performance of Atibon Nazaire as Xavier, a Haitian immigrant construction worker living in Miami’s Little Haiti neighborhood.

In a Haitian proverb, depicted against a dark backdrop, we find “Beyond mountains lie more mountains.” Xavier observes the transformation of Little Haiti, his beloved second home, under the harsh process of gentrification. Though it’s not yet gone, it’s clearly evolving at an alarming rate. The movie maintains a leisurely pace, mirroring this setting in its initial scenes. We see homes being destroyed, workers in yellow hard hats, and Xavier taking a break to savor mangoes. Amidst the lush greenery of his yard, with palm trees, octopus trees, and live oaks, the demolition equipment creates stark interruptions.

In their debut film, directors Monica Sorelle and Robert Colom offer a unique perspective of Miami seldom depicted in cinema. A city’s geography often serves as a character within a movie, reflecting its identity. In this case, it’s not the glamorous Miami of South Beach residents or affluent newcomers basking in the sun. Instead, it’s the Miami where Haitian Creole is spoken with warmth, and dishes like sos pwa and griot are shared at family gatherings and communion parties. This is a Miami that resonates with the lives of ordinary people you might encounter on the street.

The Black community in the South is gradually disappearing due to the powerful and destructive influences of racism, urban development, and environmental catastrophes – the same forces that seem to encroach upon Xavier and his family’s home. Sorelle and Colom portray a genuine depiction of their lives, incorporating the people and neighbors who form their world. However, the movie is particularly fascinated by how this family interacts and what lies unsaid among them. Xavier yearns for a more spacious, one-story house in his neighborhood that he believes would be perfect for his family. When Esperance and Xavier visit an open house tour, there’s a feeling of them exploring a potential new future. Xavier encourages both of them to envision what life could be like in such a home. However, it becomes clear they are not viewed as desirable homeowners compared to the white people depicted in the backdrop. Sorelle creates a Miami that is visually stunning yet politically tense, a tension that resonates throughout these characters’ lives. A notable tension arises when Xavier’s Black coworker Daniel (Roscoè B. Thické III) is subjected to racial slurs by a Latino coworker who is related to the boss. Xavier recognizes the precariousness of their situation as Black men in such a world and prevents Daniel from retaliating. Trouble ensues when Xavier overhears the boss telling his subordinate in Spanish, “Don’t you know we have a contract with the county and the Blacks need to be here? … Don’t let the Black stench bother you.” Sorelle avoids sensationalizing or providing easy racial lessons in this film. There are no heated debates, tragic splits, or grand declarations – just everyday life, beautifully and meaningfully portrayed in a minor key.

As a cinephile, I find myself deeply moved by Sorelle’s masterful storytelling in “Mountains.” Two remarkable aspects of her directing style stood out to me. Firstly, she has an uncanny ability to let actors breathe life into their characters. Anozier’s portrayal of Esperance exudes a knowing poise that makes divine moments feel ordinary. I found myself captivated by the simplicity of her sewing, a side job alongside her role as a school crossing guard. It made me realize that holiness can be found in the most unexpected places, such as the calloused hands of a caring mother.

Sorelle’s second strength is her keen eye. When her camera enters into the family home, I was immediately bowled over by the production design from Helen Peña, the art direction by Nadia Wolff, and the set decoration by Dezray Smith, all of which Sorelle and cinematographer Javier Labrador Deulofeu frame with structured, angled grace. Walls are painted a carmine red and pale peach. Black art marks them. The sewing corner where Esperance holds court is festooned with pattern after pattern, an array of colors for the eyes to feast upon. Sorelle’s gaze is gentle in how she brings Miami to life, but under that naturalism is a sharp understanding of how to frame a Black body in motion. There are certain shots so powerful in their use of color, blocking, framing, and physical truth — when I rewatched the film a second time for this review, I would pause to drink in the imagery. Sun-kissed lens flares. Xavier nestled in the crook of a tree at a Communion party, framed by brilliant green leaves that complement the amber liquor he swirls in his glass. Esperance at her crossing-guard job. A triangular archway frames her and a friend conversing near the center. Laughter overlaying the score. Aqua-green light streaming into the bedroom, brightening Xavier’s skin as he talks to his son about his relationship to their homeland, a country that has been suffering for hundreds of years for daring to enact a slave rebellion that proved so successful it continues to shake the foundations of the world order. This is why Haiti suffers — for daring to fight back brutally against western powers like the United States and France in favor of Black life and safety. Black futures are explicitly possible and imaginable because of the Haitian people.

In the movie, it’s interesting to observe a subtle wave of intelligence: Junior doesn’t converse with his parents in Haitian Creole, instead opting for English despite being capable. This linguistic disconnect subtly deepens throughout the film until about 44 minutes in, when Junior becomes more prominent. The narrative no longer confines him to the periphery as a supporting character. A significant part of Junior’s life unfolds at a comedy event. On stage, Junior is aware of his parents’ disappointment, portraying his mother’s voice and demeanor mockingly. His cousin Farrell points out an insightful detail: “You said nothing about us.” Here, us refers to Haitians. Junior’s stand-up lacks specificity, only vaguely defining his parents as Black immigrants. This generalization allows the film to be more emotionally raw and potentially painful, culminating in a poignant climax between father and son. The final 15 minutes encapsulate the movie’s strengths gracefully — authentic performances, insightful portrayal of Miami, skillful cinematography that enhances dark-brown skin tones, revealing screenplay, and rhythmic editing by Jonathan Cuartas that mirrors Sorelle’s artistic vision. When Esperance says, “You don’t own anything in this country,” the statement resonates deeply with truth.

The movie doesn’t provide straightforward solutions or closure regarding this family and the urban renewal (gentrification) reshaping Miami’s culture. Instead, it’s thought-provoking, avoiding easy emotional storylines or tidy conclusions. It challenges us to reflect on the experience of establishing a home in a foreign land, particularly one where your growth and survival are not prioritized.

The mountains made their cinematic debut last month, and they can now be rented or bought for viewing on Amazon Prime Video.

2024-09-28 02:54

Mountains Is a Quietly Magnificent Debut

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