When an established community (and its associated culture) begins to disappear, its constituents (particularly those who come from an immigrant background) start to experience a palpable sense of passing into oblivion. At the same time, though, some of the residents of those neighborhoods are faced with the dilemma of having to ask themselves, “Am I part of the loss or part of its cause? And, in either case, how do I deal with the outcome and my role in it?” Such is the case for Xavier (Atibon Nazaire), a structural demolition worker who resides in Miami’s Little Haiti neighborhood with his wife, Esperance (Sheila Anozier), and his adult son, Xavier Jr. (Chris Renois). The community is rapidly and aggressively becoming gentrified with each building that’s being bought up and hastily torn down to make room for new development. Xavier relishes the good money he’s making from a job whose impact he either can’t or won’t acknowledge, even when he sees the consequences of what comes from it all around him, his immediate and extended family, and the friends, neighbors and fellow countrymen of this long-settled immigrant community. It ultimately gives him pause to reflect on his past and to give thought to his future and that of subsequent generations of his people. Writer-director Monica Sorelle’s debut feature quietly yet powerfully tells a story typical of many urban neighborhoods and the effects such transformations have on the local culture, shown here through a vibrant panorama of sights, sounds, music and colors, as well as the emotions of those who live in these areas. Their expressions of hope, joy, disappointment and regret are poignantly displayed through simple gestures, revealing facial expressions and telling body language, speaking volumes often without saying a word. While the picture can at times feel a little too “slice of life” for its own good (and leaving viewers wondering where the story may be headed), it ultimately conveys its messages through its fine performances, gorgeous cinematography and skillful film editing. As the nominee of two 2023 Independent Spirit Awards (including a win for the director in the competition’s “Someone To Watch” Award category), as well as numerous film festival award victories and nominations, “Mountains” is an impressive start for a filmmaker who clearly has much to say and a knack for knowing how to effectively say it, especially when it comes to speaking for those who may not have a readily accessible voice of their own.

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Mountains: A Mille-feuille of Layered Subtexts In Monica Sorelle's "Mountains", a seemingly simple film about gentrification is much more than urban transformation. In one of several subtexts of this rich film, it's a profound exploration of how unmet expectations erode the human spirit. Set in Miami's Little Haiti, the film follows Xavier, a demolition worker whose daily labor of tearing down houses for his own neighborhood's gentrification becomes a metaphor for the systematic dismantling of personal and collective dreams. Psychological research by Davidai and Gilovich, and Buddhist philosophy also, hold that unmet expectations cause suffering. Sorelle's subtext demonstrates how attachment to expectations creates internal "demolition" more devastating than any physical reconstruction. Xavier's hopes - for work stability, for upward mobility, for the mythical promise of American "equality", for his son's future - become sources of profound psychological tension. The film's genius lies in its subtlety. Physical demolition mirrors psychological erosion. Each demolished building represents not just urban change, but the gradual collapse of Xavier's constructed narratives about success and belonging. "Mountains" is less about gentrification and more about the universal human experience of confronting the gap between our expectations and reality. In Xavier's quiet suffering, we recognize our own. It's one of those rich films that speaks to us on many layers.

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