Morgan Rojas

'Mexican Dream': A Tale of Heartache and Second Chances

The title of filmmaker Laura Plancarte's latest feature is aptly named Mexican Dream but it may as well have been called "Universal" Dream. Heartache, desire, love, and second chances are woven within the fabric of the human experience and because of this, Mexican Dream evokes an immediate sense of empathy and camaraderie from all who watch. Originally conceived as a straightforward documentary, Plancarte realized that to reach the optimum impact and avoid putting those involved at risk of retaliation, she would turn the doc's beginnings into a scripted feature. Echoing a similar visual uniqueness to last year's Academy Award-nominee Four Daughters, Mexican Dream defies stereotypes of the submissive Latin American woman surviving poverty by telling a heartfelt story about navigating through life's toughest challenges.

The film opens at an OB-GYN's office in Mexico where Malena (María Magdalena Reyes), or Male for short, is in the middle of a fertility appointment. Her face shows signs of defeat as she talks to the doctor post-examination. Not only does the cost of IVF come with an exorbitant price tag, but Male would also have to reverse the tube tie procedure she underwent after leaving her abusive marriage years earlier. Already a mother to three teenage children, Male never thought she would get pregnant again. Things become complicated when her new boyfriend begins expressing his desire for a child, pressuring her to perform and threatening to leave the relationship if the IVF treatment fails. Male then begins dreaming of a life with a newborn, but we have to wonder if this is truly her dream or her boyfriend's.

Male is a hard-working, single mother whose three children were forced to live with their father, her ex-husband, due to her inability to financially provide for them on her singular domestic worker salary. With no help from her ex, Male made the difficult decision to leave her children with him in the hopes that she would one day soon regain custody once she had enough stability. Building her own house brick by brick, Male envisions the family home she will be single-handedly providing for generations to come. This sensibility is lost on her eldest daughter, who only sees Male's sacrifice as a selfish act when, in reality, Male's blood, sweat, and tears are her ultimate symbol of love.

Mexican Dream highlights the universal struggles that women–regardless of what side of the border they reside–encounter on a daily basis. It's easy to see yourself in Male, her humble aspirations for a livable wage, and a roof over her head so she can reunite with her children, are the necessities of a decent human existence. And yet, for Male, these seemingly basic goals consume her whole world. Director Laura Plancarte crafts a totally absorbing vessel in which we witness Male continue to fight for what she wants. It's a slow burn at times, allowing the viewer to sit with the intimate discussions unfolding onscreen. Visually, the film is vibrant, both rich and expansive in color.

Shifting the film from non-scripted to scripted was a welcomed change for both the director and the subject, says Plancarte. "As we shifted from a documentary to a hybrid film co-written by both of us, I experienced immense joy and creative freedom, while Male found satisfaction in shaping her own representation and preserving her relationship with her teenage children." Mexican Dream was recently selected for the 2024 Hot Docs Film Festival.

by Morgan Rojas

'Grandma Bruce': A Magical Comedy with Deep Commentary

From writer-director Brooke Sebold comes Grandma Bruce, a short film sprinkled with magic whose impact and wit leave a lasting impression far surpassing its 13-minute runtime. This surreal comedy is rooted in reality but offers audiences a surprising twist that will have you laughing one minute and pondering thought-provoking social issues the next.

It’s a big day for Brooke (Laura Chirinos) and Sofia (Fernanda Urrejola). On their way to meet Sofia's parents for the first time, Brooke starts to have a flare-up of anxiety. She forgets to buy the cheese–the one appetizer she was tasked to bring–and second guesses her "first look" outfit, specifically her baseball hat. Sofia isn’t concerned about the hat as much as she is about the cheese, so Brooke decides to make a solo detour and swing by the store to pick up the forgotten item.

That’s when she hears a familiar voice from the backseat of her old Lexus, whom she has named Bruce. Confused, Brooke looks in the rearview mirror and sees her charismatic Jewish Grandma (Monica Piper), a presence from beyond the grave. We then learn that Brooke inherited the car after her Grandma’s passing, which Grandma now embodies in the afterlife. Through funny and judgemental remarks that are completely unsolicited, Grandma's surprise appearance is a test for Brooke. Offering outdated advice in both life and style, Brooke still finds a way to connect with her Grandma by looking beyond the unsolicited comments about societal norms. Brooke reminds Grandma that love can be expressed in many ways, and her acceptance of Brooke's life choices would be appreciated but not required.

The writing is sharp and poignant, self-identifying as a "queerdo" and lines like “Grandmas must have hard candy and Kleenex on hand at all times” intends to stir up a sense of nostalgia. For Booke Sebold, the inspiration for the script was taken from her own life, especially the relationship with her grandmother and their shared car. Grandma Bruce encourages audiences to continue engaging in these conversations, even if they’re difficult, in an effort to normalize the very normal act of falling in love with whomever one chooses.

Grandma Bruce is full of whimsical magic while also offering a necessary perspective on conducting queer conversations within the family unit. As Brooke says herself, "Grandma Bruce is a love letter to my grandma, but it’s also about celebrating one’s choices and letting go of cultural expectations [about] life looking any particular way." The film has been selected to screen at the 2024 Oxford Film Festival.

by Morgan Rojas

'The Way We Speak': A Cautionary Tale of Obsession and Insecurity

A war of words unfolds as a modern cautionary tale in filmmaker Ian Ebright's tight-knit drama, The Way We Speak. Making its World Premiere at the Florida Film Festival, the film is a rich character study that centers around obsession, insecurity, and jealousy. With a script that Aaron Sorkin would likely tip his hat to, to the rivaling pressure-building tone of Rian Johnson's Knives Out, this high-intensity drama is a captivating watch, in large part due to the powerful performance by actor Patrick Fabian.

The film opens on the eve of a big keynote debate conference, where elites gather to debate each other in a dignified and intellectual manner. Simon (Patrick Fabian) is an overly confident participant, especially for being an up-and-coming writer. Surrounded by his industry peers for some time, he has been preparing for this moment–in the spotlight. However, when he receives the news that his best friend and debate opponent has suffered a cardiac arrest, his demeanor changes. Despite his friend's poor health, Simon refuses to forego the spotlight by postponing the debate, forcing the event staff to find him a replacement. Simon's wife, a renowned doctor who is also struggling with a health condition, is reluctantly supportive of his decision to keep the debate going, but also growing more apathetic as time goes by.

The next day, Simon is introduced to a young blonde writer named Sarah (Kailey Rhodes), a bestselling Christian author who will be his new debate partner. Simon, an Atheist, and Claire, a religious person, begin their opening remarks on the topic: The existence and importance of "God". Their initial debate sparks something inside Simon, leading to a jealousy-filled obsession with his new opponent, and creating a subsequent rift with his ailing wife. The more insecure Simon becomes around Sarah, the more miserable his behavior toward everyone around him.

Words can cut like a knife, and how we use them can produce very tangible results. The Way We Speak tells a heightened story about grace and forethought while simultaneously dramatizing deep-seated divisions and unresolved grief. It is a strong feature debut from writer-director Ian Ebright, who knows how to draw in an audience and capture their attention within the first minute. This being a word-saturated film, there was heavy lifting on the part of the performers who all expertly delivered strong performances. Patrick Fabian is the standout here, his embodiment of an entitled-turned-humbled man is a compelling character arc to watch. Small in scope but large in impact, The Way We Speak is a mentally and emotionally stimulating film that is definitely worth a watch.

by Morgan Rojas

'The War Between' Explores Humanity Amidst Conflict

"If there's a place worse than hell, we are in it!". This is the desperate cry from two soldiers stranded in the Sonoran Desert amidst an unforgiving terrain, piercing sunlight, and non-existent rations in the gritty historical drama, The War Between. Conceived by award-winning Colombian-American director Deborah Correa, The War Between tells the story of an unlikely friendship between two men who started as enemies but slowly let their guards down once they realized that they're more alike than they once believed. Bittersweet and deeply moving, The War Between is a stoic yet compassionate story of survival.

Set in 1862 during the American Civil War, The War Between weaves through tough terrain and harsh elements of the south-central Arizona desert. The protagonists are two soldiers, one fighting for the North and one for the South. Corporal Israel Terry (Damian Conrad-Davis) and Private Moses Jennings (Sam Bullington) find themselves deserted by their troops and left alone to fend for themselves. Happenstance brings them face to face, and with that comes a total lack of trust toward the motivations and intentions of each other. Soon enough, they realize that in order to survive they must stick together, despite contradictory beliefs, bigotries, and self-sabotaging tendencies.

Visually, the craftsmanship is quite impressive, especially given the fact that the filmmakers only had fifteen days to shoot, which is a tight schedule indeed. The abundant use of handheld, close-up shots by cinematographer Evan Jake Cohen, succeeds in bringing the audience into the action, and the camerawork feels almost Terrence Malick-like in its composition and fluidity, lending both a mysterious and organic quality. Adding its own compelling emotional language to the film is the score by composer Dennis Dreith. Reminiscent of an Ennio Morricone Western film, Dreith's music is almost operatic in its structure and gives a sense of adventure to every scene. Of course, bringing it all to life are Damian Conrad-Davis and Sam Bullington, whose impressive performances convey the complex emotional arc that is paramount to the film's success.

The biggest surprise comes in the form of a written statement at the end of the film indicating that the production team worked with actual veterans in the cast and crew. The message states, "We believe in and support healing through art and storytelling." Onscreen and off, The War Between stands as a testament to camaraderie in the face of hardship, proving that unity, not division, is the only way through. The War Between premieres on April 7th at the Phoenix Film Festival.

by Morgan Rojas

In 'Simón,' A Young Asylum-Seeker Faces a Gut-Wrenching Dilemma

Over 7 million Venezuelans have fled their country in what is considered a monumental mass exodus, and some consider it the largest in the history of the Western Hemisphere. It's a shocking number that is hard to conceptualize but director Diego Vicentini narrows down the millions of stories to just one in the humanitarian drama, Simón. Speaking from his own experience of fleeing Venezuela as a teenager, Vicentini paints a complicated, emotionally taxing portrait of a young asylum-seeker who faces a war of worlds, forced to decide if the safety of the United States outweighs the guilt of leaving Venezuela.

Based on a true story, Simón stars Christian McGaffney as a young political activist and freedom fighter who is facing the consequences of going against the Venezuelan regime. When we meet Simón, he has found refuge in Miami and is trying to obtain political asylum so he is not forcibly sent back home. The chaos he left in his wake would surely make for a rough return, which he needs to avoid at all costs. However, asylum status is not an easy answer to his problems. Once you receive it, you can no longer return home, and for Simón, the thought of leaving his family, fellow activists, and life in Venezuela, is not an easy decision to make.

In Miami, Simón meets Melissa (Jana Nawartschi), a pre-law student who eagerly takes Simón's case. Their relationship eventually turns into friendship as he begins entrusting her with sensitive information about his past, including the shame and guilt he still feels about abandoning his friends. Melissa is sympathetic and determined to help Simón any way she can but as time is closing in on attaining asylum, Simón is forced to make a decision that has no easy outcome.

Interview: Diego Vicentini Knows He Can't Go Home After Making His Protest Film

Simón is a gripping activist drama that doesn't shy away from the ugly side of fighting for democracy.  Director Diego Vicentini, who also wrote, produced, and edited the film, pours his heart and soul into this project and the return is tenfold- the only reason why this film is so compelling is because it is told from the point of view of someone who intimately knows this struggle. The use of archival footage of chaos and protests in Venezuela drives home the message that this is not a film made for pure entertainment but rather this is a rallying cry for freedom.

The richly saturated shots give a full-bodied, lived-in feeling. Visceral flashbacks of torture, like teeth pulling, push the limits of physical torture, and knowing this violence is rooted in reality is a difficult pill to swallow. Simón also incorporates a good amount of experimental aspects, akin to Fight Club. This inventive storytelling technique amidst the sensitive subject matter is a bold and ultimately rewarding choice.

It's been said that a camera can be an effective weapon, and Diego Vicentini is contributing to his country's ongoing fight for democracy through this powerful weapon of choice: film. At its core, Simón is a universal story about the cost of freedom, and its urgency cannot be understated.

by Morgan Rojas