BERLINALE 2020- The Wolves
70th BERLINALESamuel Kishi Leopo's Los Lobos (The Wolves) is a thematically rich and heartbreaking insight into the trials and tribulations of immigration in America, with an influential glimmer of hope that underlines the future of dreamers.
The first thing to note about Leopo's Los Lobos is its thematic and structural comparisons to Sean Baker's critically acclaimed The Florida Project. In fact, once the viewer makes that comparison, it becomes rather tricky to sway its influence on a viewing. That being said, the similarities while clear, never disrupt or negate the impact of what writer-director Leopo, along with co-writers Sofía Gómez Córdova and Luis Briones, have to say with their own story.
Furthermore, while Baker's film puts more emphasis on class warfare, Leopo's film tackles racial prejudice, a flawed capitalist system and immigration to a sonorous and captivating degree. Brought to life through a stoic and limited screenplay, the themes are elevated through subtle visual depth—specifically the strong and superbly crafted performance from Martha Reyes Arias as mother of two Lucía.
Ironically, said character is only in portions of the film, with her absence used as a plot device to showcase the torments of a zero-hour contract and juggling of a family. However, when on-screen the torture of the characters circumstance and sadness, leaving her old life to start again, is told beautifully with a harrowing array of visual provocation. Maximiliano Nájar Márquez and Leonardo Nájar Márquez also greatly impress as Max and Leo, respectively. The two-child performers showcase adept skill far beyond their years with exceptional understanding of craft and physical cues.
Coupled with a subtle yet effective score from composer Kenji Kishi Leopo as well as personal and intimate cinematography from Octavio Arauz, Los Lobos (The Wolves) is a striking portrayal of those on the poverty line stricken in a system that does not cater to the person but the system itself.
