Director Fernanda Valadez makes it clear in one of the supplemental features on this disc that she set out to make a film that would not make the extreme violence in Mexico a “curiosity” to the world at large. The dangerous rhetoric that has been thrown around for the longest time has been concerning what would happen if all of the illegal immigrants made their way into the United States. Yet there is very little concern outside of Mexico about the tragedies that happen to those who go missing before ever reaching us. Some Hollywood properties such as Rambo: Last Blood or even something respected like Sicario show a violent cartel infecting different areas of the country, but even still this is framed in a way that loses the humanity for the people on the ground. In the debut feature Identifying Features, Valadez goes beyond the tropes and explores the emotional reality of living in fear.
The dreamer in search of a better life at the onset of the story is the young Mexican teenager Jesús (Juan Jesús Varela), who announces to his mother Magdalena (Mercedes Hernández) his plans to cross the border into Arizona with his best friend Rigo (Armando García). Jesús only knows he will need to find a job, but the particulars beyond that are sketchy at best. America is the land of opportunity, and he just needs to arrive here to get a bit of it himself. This is not a triumphant tale of immigration; we do not even follow Jesús and Rigo. We are with Magdalena, the character who gets left behind to worry sick until the day she gets word that her baby boy is safe in his new land. Unfortunately, that call never comes; months pass and the boys have not made it to the United States, nor have they returned to the landlocked Guanajuato. The number of people who simply vanish every year is truly terrifying, and Magdalena sets out on a journey for answers.
An admirable choice by Valadez is the decision to not boil down these daunting tribulations to the most rote path. Bureaucracy is a nightmare when it comes to finding answers, but not in the blithely unrealistic way we typically see. The authorities as presented could be trying to push Magdalena to accept that one of the numerous charred bodies in their possession belongs to her son for nefarious reasons, but it is just as likely that they are an overwhelmed entity conditioned to the fact that there is no end in sight for the death they see. As one agent says in a straightforward way, “They keep finding shallow graves everywhere.” The perceived race-against-the-clock for Magdalena intensifies when Rigo’s mother Chuya (Laura Elena Ibarra) gets confirmation that her son was killed. The script does not go out of its way to clarify why buses on the way to the border consistently disappear. Is it as simple as cartel activity, or could something even more complex be underway? Valadez lets the horror of the situation linger in the air rather than dissipate with an easy bombastic revelation that is unearned.
Coming at this story from the opposite angle is young Miguel (David Illescas), who has just been deported back to Mexico from the United States and sets out to find his mother. One of the most exhilarating moments of the film comes not from an unraveling mystery or heinous moment of violence, but from a deliciously lengthy tracking shot following Miguel as he journeys back across the border to Mexico through visually cold tunnels and through terminals. This is not an indulgent moment of cinematic prowess, but rather a way to remind the audience of the countless stories that could be told from this perspective as we see the crowds of faceless people trying to navigate the complexities of the border. When Miguel inevitably crosses paths with Magdalena, their commonalities bring them together, but the film avoids falling into sentimental cliches. They both have suffered traumas, and there is room to reach further depths of pain.
Magdalena’s odyssey leads her to people who slowly lead her to other people who allow her to gather vital pieces concerning her boy, while simultaneously opening up more questions about the nature of the country’s corruption. The revelations that this story eventually arrives at will leave you in a stunned silence, and not only because of any one answer to the questions posed throughout. The cinematography from Claudia Becerril Bulos veers a bit into the fantastical at key points which makes you feel as if you have seen the devil. There is nothing that can be shown that will make any of the tragic moments go down any easier. The violence that plagues this country is senseless, and it is only natural to feel powerless against it. Yet, thanks to the powerful performances from the actors and the unflinching direction from Valadez, Identifying Features highlights the cost of not caring on either side of the border.
Video Quality
Identifying Features comes to DVD with a 480p transfer that is fairly strong for the format considering its technical limitations. This DVD offers up a decent amount of detail in close up shots. Compression artifacts are present without being overwhelming. Black levels are subject to a decent amount of blocking. A large portion of the film takes place at night or in shadows, and interior settings hold up better than the open air night shots. Distinct details are hard to make out in the darkest moments. Colors are nice and fairly vibrant, especially in the final stretch of the film with the orange of the fire. Skin tones look natural, and there are some decent facial details present. This presentation is pleasing enough for the DVD format, but this is a film begging for a Blu-Ray release.
Audio Quality
The DVD comes with a Dolby Digital 5.1 track in the original Spanish that sounds pretty great. There are optional English subtitles available. The movie is mostly dialogue driven outside of the environmental sounds throughout including insects and gentle wind. Near the end, there are moments of an intense crackling fire that will haunt you as it fills the room. The film makes good use of panning effects to convey a sense of place. Ambient sounds such as idle chatter and car engines come through well in the side and rear speakers. Dialogue is crisp and clear without being clipped by the score or various sound effects. This is not a film that digs deep on the low end, but it is not completely ignored. Overall, this track does a fine job representing the film.
Special Features
- Behind-The-Scenes Featurette: A nearly four-minute featurette in which director Fernanda Valadez narrates some behind-the-scenes footage where she talks about the scouting locations, the process of shooting the film, the crew that was assembled and more.
- Q&A: A nearly 28-minute discussion with director Fernanda Valadez and co-writer Astrid Rondero courtesy of Film at Lincoln Center. The two discuss the real-world crises that influenced the narrative, making the story authentic, not being a “curiosity” to the outside world, the collaborations with their editors and cinematographer, finding the young performers and more.
- Trailer: The two-minute trailer for the film is provided here.
Final Thoughts
Identifying Features is an absolutely vital feature film debut which tackles the devastating violence and corruption in Mexico with a healthy dose of humanity. The craft of the filmmaking gives the message an extra punch as the striking cinematography creates a living nightmare. The incredible performances are the final piece to this intricately woven story. Kino Lorber has provided a DVD that serves the movie well enough in the A/V department, but the lack of a Blu-Ray option is almost criminal given the visuals on display here. The special features provided are strong for those who do pick this one up. On the strength of the movie alone, this disc is one you should check out. Recommended
Identifying Features is currently available to purchase on Digital and DVD.
Note: Images presented in this review are not reflective of the image quality of the DVD.
Disclaimer: Kino Lorber has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
