‘Simon Of The Mountain’ Review – A Truthful, Thought-Provoking And Stirring Portrayal Of People With A Disability [Cannes 2024]

While the representation of people with disabilities in media has increased over the years with films such as The Peanut Butter Falcon, The Theory of Everything, and CODA, there’s still a lot of work to be done. Not only because it would give disabled people the chance to showcase their talent but also to show us what their lives are really like (and not a dramatised version of it). It would also allow them to finally push back against the norms and standards set by society. With his debut film, director Luis Federico tears down the wall – which represents inequality in representation – even more, and this results in a truthful, eye-opening, and complex portrayal of people with a disability and a feature that challenges expectations from society.

Simon of the Mountain (original title: Simón de la Montaña) very fittingly starts with Simon (Lorenzo Ferro) and his disabled friends climbing on the mountains. The handheld camera shakes heavily (which can make you feel a bit disorientated) because of the strong winds. While Simon is doing everything he can to stay upright, he’s also having an in-depth conversation with his best friend Pehuen (Pehuen Pedre). It sounds like it could be a preparation for a job interview, but you’ll only find out in the last scene what this conversation is really about. For now, you have to guess what it could be about.

That ‘keep the audience guessing’ aspect is very present throughout this feature, and while it certainly adds a layer of cleverness to it, especially regarding the main character, it also sometimes results in quite abrupt editing. During certain scenes, Frederico doesn’t want to reveal too much to his liking, and therefore, he quickly goes to the next scene. All while the current scene is still in full force on screen. Apart from a handful of rough editing transitions, the rest of the editing is much more natural-looking and undisruptive.

That organic editing and steady camera work are perfect for the true-to-life story the filmmaker and his impeccable cast want to tell. Together, they show us in a non-degrading way that both men with disability are going through the same feelings and phases in life as able-bodied people. Simon, portrayed mesmerizingly by Ferro (El Angel, El Marginal), and Pehuen, whose mischievous and headstrong character traits spat off the screen because of a beautiful performance by Pedre, do what all young men do. They hit on girls, get themselves into trouble while driving without a license, want to party, and are rebellious towards society and their parents. They even use Pehuen’s disability to their advantage.

You also witness how people with a disability try to navigate together in a world that maybe wasn’t made for them. The more the story continues, the more you realise that Simon might not be who he seemed to be at first, as the persona he has been creating to fit into the world has taken over his true self. The lust for belonging causes emotions to run extremely high, resulting in many emotional outbursts. Federico isn’t afraid to show us that the intensity of those outbursts is both the result of the confusing feelings flaring up and the need for being understood, especially when you’re a person with a disability.

Another aspect the director isn’t afraid of showing is the difficulties and prejudices disabled people face every day. You can see how the strain on the relationship between Simon and his mother (Laura Nevole) is increasing because of his disability. His mother, who reminds us of Sally Hawkins as Nevole gives a soft, restrained, and touching performance, does everything she can to get into her son’s head. Still, Simon doesn’t open up to her, resulting in her being driven to a breaking point and her son feeling misunderstood.

There’s also another figurative mountain Simon and people with a disability have to overcome, which is the mountain representing the bureaucracy. They have to fill in massive amounts of paperwork, have to ask for special cards to show their disability, and have to endure many psychological tests and evaluations, which undoubtedly all impact the way they can truly live their lives. Seeing how both society and parents are holding back disabled people reminds us of the ‘Assume I can’ ad, which went viral because it challenged stereotypes about disability and it highlighted the need for a change in mindset about how people with a disability should live their lives.

While the editing feels rough and ready sometimes and the cinematography a bit too hasty, the authentic storyline, which plays on everyone’s heartstrings, and the genuine emotional acting ensure that Simon of the Mountain is a massive step towards equal on-screen representation and the decreasing misconceptions regarding disability.  

Simon of the Mountain held its World Premiere as a part of the Critic’s Week section of the 2024 Cannes Film Festival.

Director: Luis Federico

Screenwriters: Federico Luis, Tomas Murphy, Agustin Toscano

Rated: NR

Runtime: 98m