2009-03-21 19:55:53

SIN NOMBRE: A harrowing, heartbreaking journey

Filed under: Faith,Film,Justice
Posted by: Craig

Why are so many people willing to risk so much to cross the American border? The award winning independent film, Sin Nombre, elects to show us, rather than tell us. It is a poetic portrait of a highly politicized issue. Filmmaker Cary Joji Fukunaga researched Honduran immigrants’ plight, riding cargo trains loaded with hope-filled sojourners. His resulting first feature is a beautiful and troubling trek towards the Rio Grande. It also immerses viewers in the brutal initiation rites of the Mara Salvatrucha. Started by Salvadorean immigrants in Los Angeles, Mara Salvatrucha’s network has now been exported (or rather deported) across Central America. Sin Nombre is a riveting story of escape and a haunting fight for survival. It is not recommended for the squeamish. But for those who want to get inside the immigrant experience, Sin Nombre puts a compelling face on those who often die ‘without a name.’

Sin Nombre begins in Tapachula, Chiapas, near the Mexican/Guatamalan border. Caspar, a teenage member of Mara Salvatrucha, is ushering a young boy nicknamed Smiley, into the gang. The local boss, Lil’ Mago, counts down each crushing blow that gets Smiley closer to membership. Innocence is more than lost. It is beat out of Caspar and Smiley. At times, Fukunaga’s camera seems too fascinated by the tattoos, blood, and brutality that surround Caspar. But eventually, Caspar comes to share our repulsion when Lil’ Mago commits a particularly heinous crime. He casts off his gang name and seeks to erase his identifying tattoos. “Caspar” is willing to die, so that his long buried origins as Willy may live.

The second story starts even further South with a trio of Honduran immigrants. A beautiful girl, Sayra, her estranged father and her uncle hope to reunite with their extended family in New Jersey. They bide their time between trains, rushing to climb atop box cars. They face threats from the elements, from gangs, from fellow travelers, until Willy comes Sayra’s defense. Amidst considerable tension, Fukunaga captures moments of raw beauty. We see lush cemeteries, bustling train stops, and tasty local foods. But scenes of quiet reflection are soon interrupted by the bloodlust of Mara Salvatrucha.

Young actors, Edgar Flores (as Caspar) and Paulina Gaitan (as Sayra) make a remarkably compelling couple. Our heart breaks for adolescents shoved into survival mode. They share a single moment of respite in a church, transformed into a safe house for immigrants. Sin Nombre extends so much respect and empathy towards those who undertake such a challenging journey. The film avoids overt political commentary, deciding that as our respect and understanding for the ‘nameless’ rises, so will our compassion and embrace.

The 2009 Sundance Film Festival jury awarded prizes to both director Fukunaga and his cinematographer, Adriano Goldman, for their outstanding work. The lush visuals in Sin Nombre provide only fleeting relief from the pressure packed story. I had the privilege of talking to Cary Joji Fukunaga and his producer, Amy Kaufman about Sin Nombre. You can catch our interview from the Windrider Forum here. You’ll hear these young filmmakers demonstrate a commitment to their craft and a heart for humanity. They acknowledge how much faith informs immigrants’ risk taking journeys. But for Fukunaga, Sin Nombre is ultimately about family, about the unlikely bonds that form when our support systems are shredded. We’ll be hearing more from Fukunaga for years to come. Unfortunately, Sin Nombre is likely to only grow in heartbreaking relevance.

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