As a movie reviewer with roots deeply entrenched in the immigrant experience, I found “Mountains” to be a poignant and authentic portrayal of the complexities that come with assimilation. The film’s unwavering dedication to capturing the essence of an immigrant household is commendable, and it’s evident that director Monica Sorelle holds her hometown close to heart.
Numerous jobs in the United States contribute negatively to our living environment, yet many individuals continue to hold onto these positions. Filmmaker Monica Sorelle aims to shed light on why this difficult truth is accepted as such, through her debut film “Mountains.” The story follows Xavier (Atibon Nazaire), a Haitian American working in blue-collar jobs, who unwittingly becomes involved in the gentrification of his own community.
Following a subdued screening tour, “Mountains,” the Tribeca discovery, will have a restricted release in New York and Los Angeles, but first it will debut theatrically in Miami – the film’s location and Sorelle’s birthplace, where there is a strong sense of hometown pride evident. This pride is clearly reflected in “Mountains,” which possesses an unquestionable authenticity and empathy. However, its storyline may not be as enlightening as one might hope: it hesitates to delve deeply into the troubled mind of its protagonist, resulting in a film that seems predictable rather than politically relevant. Its messages of sympathy appear somewhat ordinary and expected.
Similar to numerous American immigrants, Xavier dreams of improving his family’s living conditions. His wife Sheila Anozier, a talented seamstress and exceptional cook, humors Xavier’s frequent daydreams about buying a larger home, although she appears content with their current dwelling. Their son Chris Renois, however, yearns for something different. Often engaging in English conversations when his parents converse in Haitian Creole, Junior tends to avoid discussing why he frequently slips away during dinner hours, causing growing concern and dismay in his father.
Trouble seems imminent, yet for Sorelle, it’s a haven. The filmmaker skillfully depicts their family life with ample room to unfold, emphasizing the serene atmosphere. This is clear in the vivid home decor, the unhurried pace of daily tasks, and the thoughtful, soft-spoken dialogue. The immigrant household is revered, but such sanctity is frequently tested.
In “Mountains,” cinematographer Javier Labrador deliberately avoids the typical shaky camera work seen in many American indies and instead favors stable, fixed shots. This style gives a solid serenity to the domestic scenes in the film, but it also mirrors Xavier’s passive acceptance of manipulative market forces. On the job, he wears a hard hat and construction jacket, not to improve his neighborhood, but to destroy it. His long-time demolition crew stands by, ready to swoop in on empty houses once permits are granted, tearing them down to make room for new (not necessarily better) buildings.
“Mountains”, a constant companion to Xavier, navigates a path between his work and home life. As the charismatic protagonist, Nazaire captivates on screen with an unguarded demeanor that initially leaves the audience under the impression that the film’s subtly complex relationships might develop further. However, it becomes apparent as the story unfolds that these relationships remain static, a fact which the script regrettably does not delve into, leaving the stoic character without any introspection or explanation for his lack of self-examination (class anxiety or traditional male stubbornness could be potential reasons behind this behavior).
As a film critic, I found myself watching “Xavier’s Life” with a mix of intrigue and discomfort. Throughout the movie, Xavier appears to be stuck in a cycle of maintaining the status quo, whether it’s intervening in a workplace dispute or insisting his college-dropout son join him for dinner. He seems to believe that trusting the process will ultimately pay off, but the writers, Maurelle and Robert Colom, don’t seem to share this optimism.
One narrative tangent makes an impact though, when “Mountains” follows Junior outside of the house, revealing that he moonlights as a standup. His delivery wins crowds, but his jokes are not very thoughtful: hawking stereotypes about immigrant parents being wet blankets. The sequence, positioned almost midway in the runtime, represents an unexpected and welcome expansion beyond the film’s narrow focus on Xavier’s contradictory lifestyle and his failure to see it.
Through the content of his comedy act, Junior’s cynicism toward his background comes into sharper focus. And it begs a thorny question: is it really worth shit-talking your immigrant parents behind their backs to appease a crowd of giggly Miami transplants? As with the rest of the film, Sorelle withholds from making many judgments here too. But it’s no coincidence that it’s at this rinky-dink open mic, a setting where the filmmaker stretches outside her affectionate comfort zone, that “Mountains” becomes more penetrating and more lasting.
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2024-08-16 20:46