Exploring the complexities of ‘Mountains’: A cinematic journey through gentrification and family dynamics
A filmmaker’s debut with a powerful message
In her debut feature, Monica Sorelle delves into the intricate and often painful realities of gentrification through the lens of a blue-collar Haitian American, Xavier, portrayed by Atibon Nazaire. The film, titled Mountains, has garnered attention for its authentic portrayal of a community in flux, making its way from a low-key festival run to a limited release in New York and L.A., with a special theatrical premiere in Miami, the city that serves as both the film’s setting and Sorelle’s birthplace.
A story rooted in authenticity
Mountains is imbued with a sense of hometown pride and authenticity that is palpable throughout the film. Sorelle’s direction ensures that the narrative is steeped in veracity and compassion, even if it sometimes shies away from delving deeply into the protagonist’s troubled psyche. The film’s political anxieties are softened into sympathetic messaging, which, while heartfelt, can occasionally feel predetermined.
The immigrant’s dream and family dynamics
Xavier, like many American immigrants, harbors dreams of providing a better life for his family. His wife, Esperance (played by Sheila Anozier), is a talented seamstress and cook, who listens to Xavier’s plans of saving up for a bigger house, even though she seems content with their current home. Their son, Junior (portrayed by Chris Renois), is caught between two worlds. While his parents converse in Haitian Creole, Junior predominantly speaks English, especially when evading questions about his frequent absences during dinner, a source of growing tension and disappointment for his father.
A lush portrayal of home life
Sorelle’s depiction of the family’s home life is lush and detailed, with a focus on the colorful interior decor, the patient rhythms of daily chores, and the hushed tones of intimate conversations. The immigrant household is portrayed as sacred, and like all sacred things, it is under constant threat.
A visual departure from the norm
Breaking away from the handheld camerawork typical of many American indie films, DP Javier Labrador opts for sturdy, unmoving compositions in Mountains. This approach lends a sense of tranquility to the domestic scenes, mirroring Xavier’s indifferent compromise with the insidious market forces at play. On the job, Xavier dons a hard hat and construction jacket, not to build up his neighborhood, but to tear it down. His demolition crew waits for permits to clear before descending upon vacated houses, bulldozing them to make way for newer, but not necessarily nicer, structures.
A compelling yet frustrating narrative
The film primarily follows Xavier, oscillating between his work and home life. Nazaire’s compelling and unguarded screen presence keeps the audience engaged, even as the script frustratingly withholds deeper introspection into his character. The reasons behind Xavier’s stoic demeanor—whether class anxiety or old-fashioned masculine stubbornness—are left unexplored.
Xavier’s attempts to maintain the status quo, whether mediating a fight between a coworker and a racist new hire or insisting his college-dropout son stay home for dinner, are portrayed as a misguided belief that trusting the process will eventually pay off. Sorelle and co-writer Robert Colom do not thoroughly contextualize or consider this behavioral pattern; instead, it is meant to be broken, but only at the film’s end. The story meanders before abruptly concluding with Xavier contemplating that he has had enough, resulting in a swift and awkward character arc.
A standout narrative tangent
One narrative tangent that stands out is when Mountains follows Junior outside the home, revealing his moonlighting as a standup comedian. His delivery wins over crowds, but his jokes, which often stereotype immigrant parents, lack depth. This sequence, positioned midway through the film, offers a welcome expansion beyond Xavier’s contradictory lifestyle and his failure to recognize it.
Junior’s cynicism towards his background becomes more apparent through his comedy act, raising a thorny question: is it worth disparaging your immigrant parents to entertain a crowd of Miami transplants? Sorelle refrains from making judgments here, but it’s no coincidence that this open mic setting, where the filmmaker steps outside her affectionate comfort zone, is where Mountains becomes more penetrating and lasting.
Discover more
For those interested in exploring the film further, you can watch the trailer and find more information on the Mountains page.
Mountains is a film that, despite its narrative shortcomings, offers a poignant and visually compelling exploration of gentrification and the immigrant experience. It is a testament to Sorelle’s potential as a filmmaker and a thought-provoking addition to the conversation on these critical issues.