‘Mad Bills to Pay’ Review: Soon-to-Be Father in the Bronx Struggles to Stay the Course in Impressively Acted Vérité Drama

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Witnessing a friend being scolded harshly by his mother, or seeing a heated argument between a couple in public, brings on a sense of unwanted intrusion into someone else’s private life. However, such emotional outbursts, typically confined to those directly involved, seem amplified in writer-director Joel Alfonso Vargas’ debut film “Mad Bills to Pay (or Destiny, dile que no soy malo),” a socially realistic drama that skillfully combines natural performances. The film’s theme revolves around the struggle between an individual’s control over their actions and the powerlessness they experience when confronted by economic forces that hinder them from escaping their precarious situations. This story, originally expanded from the short film “May It Go Beautifully for You, Rico,” which premiered in 2024, starts with a title card stating “the working man is a sucker,” encapsulating the main message of the movie.

19-year-old Bronx resident Rico (Juan Collado), who goes by that name, makes money selling homemade, illegally brewed alcoholic beverages on the beach, creatively named Kirby Punch for a vibrant red drink and Lemonhead Pikachu for its yellow counterpart. At home, adorned with numerous Dominican flags expressing their strong cultural identity, Rico faces conflicts with his hardworking, easily irritated mother (Yohanna Florentino), her combative teenage daughter Sally (Nathaly Navarro) regarding Rico’s marijuana use and inconsistent job situation. The household becomes even more tense when Rico announces that his 16-year-old girlfriend Destiny (Destiny Checo) is pregnant, leading to Destiny moving in with the family as there seems to be no other choice.

In “Mad Bills”, the characters exhibit raw, spontaneous actions that one might perform when they’re not being watched by cameras. Despite being scripted, the intense scenes – whether they’re heated arguments, tender moments, or romantic encounters – give off an authentic vibe as if captured in a documentary. This sense of realism is striking considering the cast consists of trained actors, yet their on-screen behavior and interactions seem remarkably close to reality, rather than mere dramatic imitation.

Collado’s calm demeanor at first transforms into a complex blend of overconfidence often seen in young men, which later evolves into regret, the misguided comfort found in alcohol, distorted views on masculinity, and the apprehension of fatherhood despite his own lack of a father figure. These challenging elements come together convincingly in Collado’s understated performance within Vargas’ short stories. Meanwhile, Checo’s energetic dancing brings a sense of self-worth and assertiveness to Destiny, enabling her to confront Rico. Lastly, Florentino, as the immigrant parent, delivers an authentic portrayal of maternal exasperation in a powerful Spanish performance that resonates deeply.

Vargas and cinematographer Rufai Ajala skillfully maintain an intimate perspective throughout their work by using naturalistic performances and carefully planned static wide shots. The camera often seems to blend into the background, observing scenes from a discreet angle, as if it’s trying not to be noticed. During exterior shots, the compositions emphasize space for the sky to dominate the frame, symbolizing Rico’s sense of insignificance amidst the vastness that weighs upon him. At one point during a heated argument, the camera jolts slightly, reminding us of its presence and highlighting the raw intensity of the acting performance.

To assume responsibility, Rico decides to work as part of a restaurant cleaning crew, yet this monotonous task serves only to underscore the challenging reality of raising a child, causing tension in his personal relationships. He’s making an effort, but the journey towards becoming a “better” man is complex and unclear, as his poor coping strategies and emotional weaknesses resurface. The clever, Spanish segment of the film’s title, “(or Destiny, tell me I’m not bad),” represents a potential line from Rico, pleading with Destiny to intervene and assure their child that, in spite of everything, he is not a bad person.

In my opinion, Vargas’ characters resonate deeply with authentic humanity, often labeled “problematic” by some. However, they portray complex personalities, blending both flaws and virtues that mirror real-life individuals. As a fellow Dominican American, raised in the Bronx, Vargas seems to elevate the ordinary by avoiding simplistic judgments about men like Rico, who grapple with external pressures and internal ambitions. The voice of popular Dominican reggaeton artist Tokischa echoes in the track “Sistema de Patio,” serving as a recurring musical motif and transition. It seems to shadow Rico through his missteps, much like an unshakeable presence he picked up at a party that now accompanies him everywhere.

Movies like “Mad Bills to Pay” share similarities with films such as “Raising Victor Vargas” or “Manito”, which offer perspectives on New York life from within the experiences of young Latino men hailing from disadvantaged neighborhoods, striving to escape the traps of poverty and imprisonment. What sets “Mad Bills to Pay” apart is that it comes from an insider’s point of view, rather than an outsider looking in. The characters aren’t strangers to the filmmaker but could be neighbors living just a few doors down. This intimate understanding of the community and its challenges can’t be learned through research; instead, it requires direct, firsthand experience.

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2025-01-27 07:17