As a film enthusiast with a soft spot for poignant narratives that delve deep into human experiences, I found Monica Sorelle’s “Mountains” to be a captivating and thought-provoking masterpiece. Hailing from the vibrant neighborhood of Little Haiti in Miami, Florida, I could resonate with Xavier’s yearning for a better life while grappling with the harsh realities of his daily existence.
In an old saying from Haiti, it goes: “Beyond mountains, there are more mountains.” This idea is beautifully explored in Monica Sorelle’s film, Mountains. Essentially, no one is truly alone; even the grandest mountains have other mountains supporting them. Similarly, ordinary individuals like Miami resident Xavier (Atibon Nazaire) often forget this fact amidst their daily struggles. His life revolves around his physically demanding job at River Realty, where he and his coworkers demolish old homes in Little Haiti. However, they should remember that there are always others who care for them, much like the unseen mountains behind the mighty ones.
Xavier’s job isn’t flashy, but it gives him the means to support his family. However, financial security is not enough for him. The appeal of a luxurious home and its comforts calls out to him. He yearns to offer nothing less than the best to his wife Esperance (Sheila Anozier) and son Junior (Chris Renois). In Xavier’s thoughts, a new residence, bought with the demolition earnings, would make this possible. As he dreams of the future, he also keeps an eye on Junior, who has recently left college, causing his parents distress.
The on-screen reminder in the movie “Mountains” that life is never navigated alone influences its unique visual style. During the film’s initial part, Sorelle and cinematographer Javier Labrador Deulofeu often use wide shots to highlight hints of a larger world surrounding Xavier and his family members. For example, the camera occasionally steps back within this household to take in a variety of clutter, knickknacks, and wall decorations that suggest decades of memories.
In these photos, Xavier is seldom the main focus, with graffiti on rundown buildings or people talking on their phones taking center stage. Sometimes, Junior and his cousin are seen watching a video on a camcorder in the background of a large mural dedicated to Little Haiti. Despite their frequent disagreements, Xavier and Junior share a similar expansive portrayal, hinting at a vast, chaotic world that overshadows them both. Interestingly, it appears there’s more common ground between these two characters than one might initially think!
In this story, Mountains offers a narrow peek into a broader universe that Sorelle masterfully portrays. The casual interactions Esperance has with the women she meets daily, for instance, subtly hint at this vast world beyond the three main characters. Details like these delicately suggest there are numerous untold stories hidden within the settings and characters of Mountains. No character in this production merely exists to deliver heavy-handed exposition. Even peripheral figures such as a food truck vendor or various comedians have rich, authentic lives of their own.
In the intricate neighborhood that Xavier and his family call home, the movie Mountains poignantly portrays the somber impacts of gentrification. Scenes such as a family get-together on Sundays or Junior chortling with pals on the sidewalk exude liveliness and vitality. These moments brim with genuine human connection. In contrast, pictures of vacant lots where old houses once stood carry a foreboding atmosphere. The stillness and grey concreteness in these frames seem to echo the silence.
In the near future, upscale destinations catering to white tourists are expected to move into these locations. Over time, long-established residents of this area may find it increasingly challenging to stay due to rising rents and expanding gentrification. This inevitable scenario, which often overlooks Little Haiti’s inhabitants, is portrayed in photographs showing deteriorating buildings or intentionally drab scenes featuring people walking through debris. It is during these instances that the significance of wide-angle shots becomes apparent. The camera frames Xavier frequently against a backdrop of the larger world, subtly reinforcing how his work affects others. As time goes on, this man must confront the reality that his actions, which provide for his family, negatively impact his community. These expansive visuals underscore that Xavier and his actions are always part of a broader context. His job operates outside of an isolated bubble, even if he is not fully aware of it.
Contrasting those glib reminders of gentrification of impact are onscreen depictions of Little Haiti residents just navigating everyday life. Mountains is dedicated to chronicling existences upended by a process benefiting the bourgeoise. This commitment includes the welcome presence of Xavier and Esperance’s sharing a deeply affable dynamic. Sorelle and Robert Colom’s screenplay opts to frame the couple not as newly minted lovers or a crumbling couple. Instead, they’re depicted as a pair who’ve endured the fire and flames together. Their bond’s so strong it’s conveyed in subdued yet meaningful ways. Their interactions carry a pleasant intimacy that registers as both transfixing and deeply realistic.
The human touch in the movie “Mountains” is one of its most powerful features. Unfortunately, some interior scenes are less impactful due to a more ordinary camera framing chosen by Sorella and Deulofeu. Scenes showing Xavier and Esperance exploring a new home should have been filmed with the same creative camera work used in outdoor sequences depicting Xavier at work. It’s unfortunate that Esperance’s role becomes smaller in the third act, which mainly focuses on Xavier and Junior’s relationship, as her scenes working as a crossing guard or discussing dress-making with friends were captivating. Her absence from key moments in the movie’s final scenes detracts from the overall film experience.
It’s true that some flaws in the movie, or “Mountains,” become more noticeable due to its strong points. For example, stunning outdoor shots that hint at the cost of urban development make the less distinctive indoor scenes more apparent. However, this film boasts remarkable acting by Atibon Nazaire and Sheila Anozier. In particular, Anozier delivers a powerful performance as Esperance in her debut feature film role, using subtle gestures like a glance or touch to convey her complex inner life. Anozier’s moving portrayal underscores the timeless wisdom of the saying, “behind every mountain lies another mountain,” which this movie effectively demonstrates.
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2024-08-19 17:15