
N.B. Weiss attempts to structure his documentary, ‘In the Summers’ into a melodramatic movie for his younger audience. He also strives to make it clear that this film has other themes and subjects along with romance that it can be mulled over.
Lacorazza’s naive emphasis allows her viewers to understand her matrimony within the context of complexity. She reflects: Younghood within immigrant families, especially when you feel a foreigner repatriated to an alien land, is hard to grasp. It gives off the impression that childhood is something that is taken away. But the comic essay is full of dire expectations by people who chose to leave their country.
In the midst of the cultural daze, every other character is in, Lacorazza adds to the mix of tension in the household. Young girls only have their father’s attention to fight for. It serves as a great motivator. Because they need reassurance that whatever they do will not and has never been enough.
Other than the dramatics, an enigma of a character resides in Violeta and Eva’s life as a father, a Puerto Rican rapper René “Residente” Pérez Joglar, who simply goes by the name Vicente.
After separating from her husband, Vicente’s mother now happily resides in California and this led Vicente to return to his childhood home. The living conditions in there are really bad as it has been displayed by cinematographer Alejandro Mejia. In his transition, he displays the chaotic lifestyle that Vicente resides in, which is believed to be the catalyst behind his declining marriage.
Vicente was in a jolly mood when he took his daughters to their mother’s house and on their way, they stopped by the swimming pool, bar and even started talking about galaxies. It was clear that he turned out to be very warm and entertaining with his kids. If anything, this portrays his intelligence and how insightful he is. This also reveals the kind of thoughts and views Vicente wanted to share with his children, who can be seen happily embracing them. Furthermore, we get a glimpse of Vicente smoking and drinking alcohol, and to be fair even in this first piece’s story we can see Vicente hiding most of his life behind a low profile.
But when he drives her daughters home, and starts driving wildly in a comedian’s way, it comes as a shock to him, as a shock as to what we see: Violeta, unfastened and terrified at the back, who comprehends well what she most likely cannot hope that Vicente will bring them home for he is almost losing command over the car. While Violeta was saying this, she seemed to repeat more to herself than to Violeta, “That wouldn’t happen to me again.”
However, small as it may be, it is yet an extremely significant one among many that first summer and one that will have far-reaching implications in the manner in which and the self-image that Vicente’s daughters construct around his absence and presence, his involvement and his disinterest, his generational cyclone. Lacorazza’s interest does not so much lie with the violent events of parent children relations, however during the time showing in a remarkable manner even a few moments of the extremely strained relations of Vicente and Violeta which ends in violence, she does pretend to be concerned with moments which are of delicately time framed.
Nevertheless, sequence still life compositions such as Dutch vanitas, adored family portraits displayed on altars, and pondering toms come after each of the chapters. Despite the lively Latin music accompanying it, these paintings gently but surely remind us of how time swiftly and surely tarnishes even our best of intentions. The next time children meet their father, a lot has happened between these encounters. Once she was placed in this tumult she has matured into the young lady who is prepared to go to great lengths to earn her father’s love, Violeta (Kimaya Thais Limón) has transformed into an elder sister who wishes to safeguard her sister because she has been through more. When Violeta, who has now opted for a pixie-cut, meets their father’s barmaid friend Carmen (Emma Ramos), who helps the girls out because she is dating the father to be a physics tutor for Camila, the gorgeous barmaid looks adorable! They head in the bar, where the girls’ father usually is. Eva on the other hand would not care for Vicente’s statements of ‘she looks like her mother’ as in her own words, all she hopes for is for him to see and regard her as such that she is capable of taking care of herself without having him around.
Violeta’s alcohol dependency has caused Vicente to lash out at her, aggressively pushing her away as she attempts to fully realize herself as a powerful queer, which is far too daunting for Vicente.
That summer, Vicente finds himself camping in the ruins of his life, with his best memories gone, the humble house now turned into an expired good and the once clear swimming pool bulldozed by mud and trash, even the Las Cruces mesa, for the first time, feels dank and humid. Since their father went looking for work and lost them, Violeta and Eva are forced to keep nudging a rotting squirrel corpse underneath a highway overpass.
The confrontation does not go well because Vicente is the reason for the event, the drama and the action will have to eventually catch up with him, and when Eva goes out two summers ago she sees her father’s new wife running alongside their newborn child Leslie Grace. Vicente’s father figure has so much anguish for Violeta staying back in California that he regards Eva as secondary. Loneliness awaits her for a long period of time. At the pub, Carmen watches as Andrea once more assaults her dad, and Eva’s desire to impress her father by practicing billiards makes it not so effective beating him, at the same time.
The skirt stage of the crossbody, now approaching the teenage age, Eva, during the scene from In the Summers that is talkative is due to Salinas since he makes her wail throughout the segment waiting for his blandishments and sighs when he abandons her.
As for Violeta, herself older, and Eva (Sasha Calle), Lío Mehiel, they are mentioned as coming to Las Cruces for the first time after many years only to pay respect to their father, and the bonds wielded by patriarchy are said to have shrunk, become feebler and less stronger than their marriage.
Violeta is all set for her graduate school this fall, something which she has been looking forward to the most during the transition. Eva on the other hand is battling her own demons which causes her to suffer excessive emotional distress, from hiding her face with heavy dark sunglasses to being a heavy chain smoker Evans has it all. She struggles with a disconnection which Vicente tries to fix. Lacorazza’s love and devotion is evident within the boundaries that were built by Barlow in conjunction with him being the father. They were built within trauma and pain alongside anger, buried but unresolved feelings and anticipation Lacorazza narrates with tenderness. Not to have to mention a huge space which results from absence of relativity, Lacorazza touches upon the crux of the matter saying all monumental quarrels and touching hugs are already history, everything that could be put back together left untouchable while only dim bodily sensations remained together with sharp pain, and everyone knew the boundaries.
An antithesis of this are Mehiel and Calle who have unwaveringly stayed true to their analysis of weaves of which all the characters are parts and the debris which those tremendous and dominating emotions places.
Still, it is this particular expansion that lends a kind of force to the emotion of “In the Summers”, especially because they were the elders, who enjoyed the attention their gifts attracted, and nurtured the bothersome narrative. Amazingly, they succeed in illustrating the dissolution of the bond that exists between the father and daughter right on the stage.
Encore desormais, toh kaho toh yeh hai The most harrowing single performance of all is without a doubt that of Joglar whose reading manages to project from the entire breadth of the individual a loving father who protects his daughters but cannot control his rage at the pivotal moment. “Fine, you people seem to have managed without me,” He reminds me in a recent interview, during the later stages of the film in question – it is a cold fact and failure, which makes it that much more painful because it is said in such an unparametric style.
This year’s Sundance Film Festival now holds witness to ‘In the Summers’ as it furthers etches its name in history. While in direction of it, the film was successfully able to acquire both US Dramatic Grand Jury Prize as well as Directing Award. La Cruces, The Land She Desires, shifts the viewpoint towards its well designed scenery with its dense nights and its mountain Range that beautifully adds character to the wigwams of Violeta and Eva, as they ride across the sand resorts. If that doesn’t orient you, then the kingsize Esperanza fake apex accompanying them should. A Barely teenager appearing Violeta grabs Natalias hand, from the set pieces, structures and nature time feels a little warped. And this isn’t even the beginning. She already has such dramatic shifts to the story, however, with the right ambition and perseverance I will attempt to unearth and explore whatever fragments of it that still remain instead. It almost felt childish to imagine ignoring all the people I had met and all the experiences I had lived through.
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