‘La Granja': Film Review

Three companion stories demeanour during Puerto Rico’s tough realities in Angel Manuel Soto’s drama.

A subdued, apart Puerto Rican cousin to Amores Perros, Angel Manuel Soto’s La Granja (The Farm), offers 3 associated stories that demeanour during life in an all-but-hopeless place where, as we’re told from a start and shown throughout, life means little. Though done with many reduction cinematic aptitude than Alejandro González Iñárritu’s 2000 breakthrough, Soto’s film arrives during a impulse when English-speaking America is profitable some-more than a common volume of courtesy (that is, scarcely none) to a uneasy territory; that should work to a advantage of a design in a singular art residence run.

The stories take place in Barrio La Esperanza, a clearly built area confronting an heated crackdown on crime (the “Mano Dura,” or “Hard Hand”) while a illusory administrator runs for re-election. News reports we hear during any of a 3 chapters (an early idea that they overlie in time) connote to widespread corruption, stating that a governor’s son was recently killed during organized-crime raids. Here, though, crime is mostly seen as a one-on-one affair.

Each of a narratives involves an upsetting loosening for life, though a many intolerable competence be a first, that primarily looks like a elementary comment of a prime midwife’s loneliness. Though she has a beloved (we never see him, though hear on a phone as he creates excuses for his absence), Ingrid (Amneris Morales) spends her days alone, masturbating and holding one pregnancy exam after another. At work, she sees junkies giving birth to babies they competence simply have killed by negligence. And eventually, something snaps inside her.

Ingrid is related really tenuously to some of a film’s characters, though proves closely connected to a male creation many of their lives hard: Bearded Ruben (John Garcia) is a knave of a second piece, a mobster using a fighting ring where spectators gamble on possibly cockfights or pre-teen fighting matches — and untalented fighters of both sorts are probable to be killed and discarded.

Last comes a closest thing a film has to an innocent: Lucho (Henry Osso), a chunky child operative unhappily as a drug mule, clearly to assistance his bum father. Lucho’s half-sister is a junkie, her beloved is peaceful to caterer her out, and he’s about to get into difficulty for hidden a camera a integrate uses to make sex tapes. Only somewhat some-more charcterised than a tongue-tied fighter who stars in a second chapter, Lucho is a mostly pacifist case here, though competence be a many expected to emerge unscathed.

Though rather relentlessly dull during first, a design grows some-more involving as it goes, with a supportive measure by Juan Covarrubias assisting things along considerably. Though nothing of a characters offer a possibility for castmembers to arise above their surroundings, a thesps are good matched to a material.

Production company: La Que te Hablé
Distributor: Breaking Glass Pictures
Cast: Henry Osso, Marcos Carlos Cintrón, Yulianna Padilla, Amneris Morales, John García, César Galíndez, José R. Rolón
Director-screenwriter: Angel Manuel Soto
Producers: Tom Davia, Adrienne Franciscus, Angel Manuel Soto
Executive producers: Santos Rivera, Luillo Ruiz, Yudal Báez
Director of photography: Sonnel Velázquez
Production designer: Joanne Tucci
Costume designer: Julia Michelle
Editors: Gabriel Coss, Angel Manuel Soto
Composer: Juan Covarrubias
Casting director: Nikki Dalmau

In Spanish
101 minutes

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