The American Dream is a form of life many pursue. There are countless stories from different cultures and generations about this journey. Born from immigrant parents, I would hear stories of their new life struggles in the United States. My father would talk to me about how he was always searching for a better life. Persistence was key to his success.
Cinema is no different from these narratives. The subgenre of Coming-to-America is filled with the male perspective and their stories. A great example that comes to mind is Robert M. Young’s Alambrista! As fascinating as it is to experience the life of Roberto (Domingo Ambriz) as a stranger in a strange land, there’s one detail that struck an off-chord with me.
The setup of his story only takes about nine minutes. We see the birth of his son, a discussion with his wife about the opportunities in the U.S., and a quick scene where Roberto’s mother doesn’t want him to go to the United States. Afterward, we get a scene of Roberto sending money to his family. Other than that, Mexico is nothing but a memory.
Director Fernanda Valadez grabs a hold of this male-led subgenre and shines a light on an aspect that is often overlooked. With her directorial debut film Identifying Features, she focuses on the mothers of the missing children that go on this horrific journey. The protagonist is a stay-at-home mother named Magdalena (Mercedes Hernández) who endures her own quest during one of these situations. Magdalena’s 12-year-old son Jesús (Juan Jesús Valera) leaves with his friend Rigo (Armando García) to find work in America. After two months with no communication, their mothers go seek help and Magdalena embarks on a journey out of love for her missing boy.
With the majority of the crew members being women, Valadez captures the genuine emotions of a mother. The sorrow, the hope, and the dread all spill out through the lens of the cinematographer Claudia Becerril Bulos. The powerful imagery surrounding Magdalena and her quest can be seen through the Mexican landscape and the elements surrounding her.
On a podcast discussing the film, Valadez expressed the following: “The landscape should express the inner landscapes of the character.”
Great cinematography is a skill too often ignored. It is up to the director of photography to recreate a director’s vision and showcase the film’s world. Through the lens of a cinematographer, they can influence and evoke emotions. Claudia Bulos completely understands this notion and parallels nature with the inner feelings of the characters in Identifying Features.
The first act of the film is mostly shot in the city. The rural landscape of Guanajuato is Magdalena’s safe space, her comfort. But she soon enters the concrete jungles of bureaucracy. When inside a building, each frame is shot with Magdalena in front and center of the camera. Her worry pours through the screen. On the other side is a faceless member of the paper-shuffling society who offers little to no help.
Brick and drywall partitions surround Magdalena. It’s almost claustrophobic how Valadez depicts each scene. The more Magdalena tries to uncover any form of information, the more she’s blocked off. This closed-in environment is a great representation of how Magdalena figuratively hits a wall after each attempt. As much as she tries, there’s just no budging. The little help Magdalena does receive is through rogue employees, all of whom are women.
As the film progresses, Magdalena’s hope deteriorates as she comes across more information about the bus Jesús used to migrate. Upon receiving the details of the bus assault, the following scene is of Magdalena walking on a lonely dirt road. The sun is high, the path is a barren landscape. Dry and brittle patches of grass surround Magdalena as Valadez makes it a point to focus on the shoes of the mother. As dread and despair surround Magdalena, she marches forward for her son.
Valadez continues the hopelessness through the cinematography, but instead of using Mexico’s desert like in the aforementioned scene, the landscape changes to an untamed rural environment. The more the wilderness grows, the deeper Magdalena goes on her quest. Wild plant life sprouts through the rough dirt. A sense of chaos runs through this serene ambiance. Although the contradiction is subtle, Valadez reminds us of the mess of emotions running through Magdalena. The scenery compliments her quiet stance and facial expressions.
Magdalena’s quest is fictional, but the real stories of missing people crossing the border come in abundance. When searching for the disappeared, the sensation of solitude is inevitable. At the midpoint of the film, Magdalena encounters a young man named Miguel (David Illescas) in a meadow of blossoming weeds. Valadez still reminds us of the isolation that occurs even while accompanied. As both Magdelena and Miguel arrive at Miguel’s godfather’s house for help, they are met with a cold shoulder and a closed door. The feeling of isolation clutters the minimal frame. While the savage wilderness was flourishing in the past scenes, this one is fantastically crafted with the use of silhouettes. The orange of the sun and sky is met with our two characters and the dark mountains in the background. Silhouettes can help emphasize many moods and emotions. In this case, the sentiment is loneliness. As the scene lingers, isolation expands.
Although the majority of the film takes place during the day, Valadez’s night sequences are full of symbolism. Most of the dark scenes are countered with the light of a flame. Fire is a recurring element that helps support the theme and emotions in Identifying Features.
The first instance when fire is present and focused on is during Rigo’s funeral. A casket with the unfortunate soul is inside a room lit entirely by candles. The flames sway through the mournful night. Orange flickers through the family member’s faces as disbelief and grief runs through them. It’s important to point out that all of the prominent fire scenes deal with a life-changing incident. Not only can fire be seen as death, which the other examples support, but fire is also the representation of pivotal moments in these character’s lives.
The presence of fire sits on the backburner until the end of the second act. Radiant flames are prominent once again when Miguel and Magdalena arrive at his deserted home. It’s safe to assume Miguel’s mother was abducted due to the disruptiveness of the house’s interior. Later that night, Miguel and Magdalena are in separate beds and a fire pit is strategically placed behind Miguel. Rather than talking, breathing and the fire’s crackle fill the room. As Miguel sits with his thoughts, the orange of the flames reflects off his back. Wondering about the woman who raised him at a young age, his support is now gone. The heat on Miguel’s back is a constant reminder throughout the night.
After the failed meeting with Miguel’s godfather, Miguel and Magdalena return to Miguel’s old home once again. That night the fire is placed in front of Miguel. Instead of the warmth on his back, the flames brighten Miguel’s face. The realization of his mother’s death and shame is apparent. We see his side of the story about migrating to the United States and how his mother’s feelings didn’t cross his mind.
The film’s usage of fire during the climax is the most important. It covers both death and change. Magdalena experiences the change through a hurtful realization. Her son Jesús is alive only because he chooses to take a life over death. During the visual exposition of the tragic bus assault, a huge fire is centered between the cartel and the group of migrants. Jesús is given a chance to live if he takes away Rigo’s life. He obliges. During the act of murder, the orange glow from the fire increases. It overtakes Jesús and the surrounding area. Jesús’s pivotal moment is engulfed in flames. One of the final shots emphasizes Valadez’s take on fire. Through the silhouette of Jesús, we see the flames of the central fire being sucked into his body. Fire forms within him. The rage builds, death is near, and his life will forever be changed.
Even though fire is primarily focused on among the men surrounding Magdalena, it is still an integral part of Magdalena’s quest. As she wanders through the landscapes of Mexico, every bit of scenery tells an emotion. The beauty of cinema is being able to witness a perspective not too often explored. If you match that with an exquisite eye for cinematography, the outcome is an authentic look into the human experience. Fernanda Valadez and her crew gave us a fresh look through a maternal lens into the emotional journey of a worrying mother.
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