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Inspiring artistry and perfection make a ‘nameless' hit

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One of the opening feature films of the SXSW Film Festival, “Sin Nombre” moved me to tears. The film, whose title means “nameless” in Spanish, is the impressive first feature by American filmmaker Cary Joji Fukunaga, who both wrote the script and directed this true-to-life movie. The story follows two groups of Latin Americans - violent Mexican gang members in Tapachula and simple Honduran migrants determined to get to New Jersey - whose lives cross on the long, treacherous road leading to the southern border of the United States. The harsh realism of Fukunaga's film is at times difficult to view, but the artistry and presentation of the film and its subject matter are sheer perfection.

First following Casper (Edgar Flores), a committed member of the brutal street gang Mara Salvatrucha, Fukunaga shows us a man not completely committed to the gang. Although Casper eagerly recruits his very young friend Smiley (Kristian Ferrer) into the gang - and takes part in his initiation, which involves being beaten by adult members of the gang for 13 seconds - he also has a girlfriend, Martha Marlene (Diana Garcia), a woman who is clearly emotionally grounding for him. Casper shows a different, more humane side when he's with Martha Marlene. He even uses a different name, Willy, one that feels more personal. Casper honestly believes he can keep her from his other life and maintain a semblance of normalcy outside of the gang world. But the blatant and unflinching brutality of the Mara devastates everything in its path, and Martha Marlene becomes a victim of his fool-hearted belief he can exist in both worlds.

Further south, Sayra (Paulina Gaitan), accompanied by her father and uncle, begins a long, treacherous trek to the United States and to what they pray is a better life. Unfortunately, one means of income for the Mara is robbing the migrants who ride on the roofs of freight trains passing through Mexico, and this is where the two tales cross. Casper's deep-rooted sense of decency and humanity cause him more trouble when he stops another gang member from raping Sayra, a choice which sets into motion a downward spiral for all involved.

Fukunaga's characters are vivid, impassioned and remarkably real. His telling of this tale exemplifies the plight of thousands and the filming by cinematographer Adriano Goldman demonstrates an eye for the magnificence of the Mexican countryside - one that shows us both realities - beauty and grief. Fukunaga does not renounce nor reside in the poverty or trepidation of his characters. He chooses to show us first-hand the hope and the tragedy of the situation, and we are drawn in helplessly watching as optimism turns to desperation.

An unofficial support system exists along the migration route and the migrants are able to find food and baths, nourishing the theme of hope. But as they travel on the tops of railroad cars, exposed to the weather, low-hanging branches and the ever-present risk of falling off, they are equally exposed to the violence and crime that follows them. Fukunaga has an obvious respect for his characters and their troubles and a desire to tell their tale with honor. Had I not known better, I would have sworn that the R-rated “Sin Nombre” is a foreign film - a compliment indeed, in my book. With no Hollywood-like trappings and tricks, the plot plods along at a realistic pace, unhurried but never dull and always intriguing.

The cast of unknowns, at least to me, could have been part of a documentary. I believed them, every moment. While the script is naturally predictable, it draws us in and holds us tight as we watch definite doom unfold. I am from South Texas and my father and uncle worked for the Border Patrol, so I have heard hair-raising stories of attempts to cross into the United States, but I know little of the dangerous, extensive journey that leads up to the dream of that final river crossing. “Sin Nombre” paints an indelible picture of that plight, one experienced daily by hundreds hoping beyond hope for a better future. Because the characters are so wonderfully imagined, we sit, mesmerized, praying that their tale ends happily, even though all roads - in this case the railroad - lead to eminent disaster.

I am placing an A- in my gradebook. Because of its subject matter, “Sin Nombre” is not for everyone, but it is an important film and one deserving of accolades for its inspiring artistry. It stands as a testament to all those nameless souls who dare to attempt to alter their lives for the better.

Don't forget to check out Laurie Coker's website at www.trueviewre views.net. Summer is quickly approaching and we'll have chances to win passes to blockbuster screenings and more!

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