As the latest feature from writers/directors Fernanda Valadez and Astrid Rondero (“Identifying Features”) draws to a close, it’s hard to ignore the starkness, pacing, and tone overall; this is hardly the sort of film one puts on as any sort of a palate cleanser. While superbly well-made, beautifully shot, and comprised of a cast firing on all cylinders in terms of acting ability, to make it through “Sujo” is akin to a slight exercise in endurance, though not without a noticeable crescendo as the film chugs along.
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Over the course of the film, “Sujo” simmers, comprised of chapters each named after people in the title character’s life; Sujo (Kevin Uriel Aguilar Luna), for those wondering, is a boy depicted from youth to teen as he endures the harsh environment of growing up in rural Mexico, having been orphaned at an early age following the murder of his hired gun father, Josue (Juan Jesús Varela Hernández) in a cartel-ordered hit. Going through his formative years in a tiny town lacking any real opportunity for young men would be difficult enough, but with the cartel ordered to track down the boy as part of longstanding traditions meant to end the boy’s life in a similar fashion, it’s up to his aunts Nemesia (Yadira Pérez Esteban) and Rosalia (Karla Garrido) to provide both shelter and safety for young Sujo, as well as bargaining on Sujo’s behalf to let the young man live.
Such an opening act sets the tone well, with the film’s violent moments never shown explicitly; Josue’s job, for example, can be heard occurring offscreen, with merely the sound of gunshots buried under the blaring music of the radio from within the car Sujo inhabits as he sits and waits. The significance of this car, as well as the vehicle itself, both materialize again later, as a time jump sees a juvenile Sujo (now portrayed by Juan Jesús Varela) attempting to figure out exactly who he is while cousins Jeremy (Jairo Hernandez Ramirez) and Jai (Alexis Jassiel Varela) venture down a far more lawless path, though lighthearted scenes of Sujo enjoying a swim and going on dates all follow such equally dramatic beats as seen when Rosalia and Nemesia discuss the meanings behind various family names; when the scene ends on a shot of Nemesia standing in the doorway, uttering the word, “vengeance” when asked about her own name, it’s a show-stopping moment. Yes, the simmering continues, but it can’t help but find itself punctuated by bursts of energy every once in a while.
Luckily, the film segues nicely into the third act, when the action shifts to the city as Sujo can be seen pursuing a brighter future as he enrolls in school under the tutelage of a teacher, Susan (Sandra Lorenzano), who just might believe in his potential. The bleak road ahead remains a hurdle for Sujo, even in these moments of hope; the taunts escaping the mouths of boxers emanating from an outdoor gym Sujo passes by culminate inevitably at the film’s conclusion, but to know there may be a way for him out of the devastating circle of life that’s enveloped his world for generations does make one take pause as the final minutes unfold. This can be found even in the bookending scenes that show how Sujo got his real name, also Josue; what we’ve bore witness to onscreen is in no way the most attractive journey, but it succeeds in its effectiveness.
“Sujo” may not be a movie with which everyone will connect or find a wealth of relatable aspects, but the quality on display is enough to warrant a view. In the slow burn present from beginning to end, what can be presumed is an accurate look at how young Mexican men navigate an avalanche of challenges well into young adulthood can be easily labeled as one of the film’s greatest triumphs and enough motivation to see what Valadez and Rondero will give audiences next. This sits comfortably in a slightly different category than any run-of-the-mill narrative feature, and by working through the flaws something unexpectedly stunning emerge. [B]
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