A new perspective on human trafficking: ‘City of Dreams’
Exploring the narrative of ‘City of Dreams’
Last year, the film “Sound of Freedom” made waves at the box office, resonating with audiences who saw it as a moral stand against the horrors of human trafficking. This year, “City of Dreams” aims to capture that same spirit, offering a gripping tale from the perspective of a non-verbal 15-year-old boy named Jesús, portrayed by Ari López. Set in the state of Puebla in central Mexico, Jesús is lured by the promise of a soccer camp, only to find himself trapped in a dark, windowless Los Angeles home that doubles as a clandestine clothing manufacturing operation.
A star-studded production team
In an effort to appeal to Latino viewers, the film boasts high-profile producers such as Oscar-nominated Mexican actress and activist Yalitza Aparicio, Puerto Rican singer Luis Fonsi, and filmmaker Luis Mandoki. Aparicio’s involvement isn’t the only connection to Alfonso Cuarón’s Oscar-winning “Roma,” as actor Jorge Antonio Guerrero, who played Fermín in ”Roma,” appears as Jesús’ father. Despite the impressive lineup, the film struggles to stand on the strength of its message alone.
A critique of the screenplay and dialogue
Ramchandani’s screenplay is filled with stereotypical archetypes and dialogue that ranges from laughably clichéd to absurd. The characters, who are presumably recent immigrants from Latin America, inexplicably speak English to each other, even in situations where Spanish would be more logical. This lack of cultural awareness is glaring and detracts from the film’s authenticity.
Performances and character development
Chilean actor Alfredo Castro, known for his roles in Pablo Larraín’s films, plays the villainous “El Jefe,” delivering grand speeches. Mexican actor Diego Calva, who gained recognition for his role in Damien Chazelle’s “Babylon,” appears as Carlitos, another exploited immigrant. Unfortunately, their performances are marred by the stilted dialogue they are given. Andrés Delgado, as Cesar, the enforcer, also suffers from the forced Spanglish lines.
López’s performance as Jesús is a standout, benefiting from the lack of dialogue. He convincingly portrays the extreme distress of his character’s circumstances. However, the film’s thematic elements, such as a religious allegory and a subplot involving a police officer, feel contrived and detract from the overall narrative.
Visual storytelling and cinematography
Despite the shortcomings in the writing, the film excels in its visual storytelling. Cinematographers Alejandro Chávez and Trevor Roach create a drab, oppressive environment that highlights the subhuman conditions the characters endure. An impressive chase scene through Downtown L.A.’s Garment District showcases the film’s production value, but it’s not enough to overcome the narrative pitfalls.
A call to action
The film concludes with a call to action, as young López addresses the audience out of costume, urging them to spread the word about the film and denouncing politicians and celebrities who don’t do enough to end these dehumanizing practices. While the seriousness of the subject matter is undeniable, the film’s overtly ideological approach can feel more like a public service announcement than a piece of art.
Final thoughts
“City of Dreams” is a film with noble intentions, aiming to shed light on the horrors of human trafficking. However, its heavy-handed message and lack of cultural authenticity undermine its impact. The film’s visual storytelling and López’s performance are commendable, but they can’t fully compensate for the narrative flaws. For those interested in exploring this important issue, the film is worth a watch, but it may leave viewers wishing for a more nuanced and authentic portrayal.
For more information and to watch the trailer, visit City of Dreams.
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For those who enjoy the music of Luis Fonsi, check out his latest album on Spotify: Luis Fonsi.
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