Una Causa Noble—coming full circle (Part 2)
By Miles Merritt, Feb 16, 2007
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Una Causa Noble (A Noble Cause) Tues, Feb 20, 5pm, Wed, Feb 21, 5pm Teatro Santa Ana, Biblioteca Pública Insurgentes 25 |
Last week in Part 1 of this article, I discussed how our short film, Una Causa Noble
(A Noble Cause), produced here in San Miguel de Allende, has taken my wife Gail
and me to some unanticipated venues and enabled us to meet a variety of new people,
young and old. But one encounter in particular stands out as the most humbling and
yet rewarding experience of the entire journey.
By now you may know that Una Causa Noble was inspired by the story of Juan López,
a 22-year-old Mexican man living in the United States, who joined the Marines in hopes of expediting his family’s application for citizenship. Juan was tragically killed in Iraq and at his funeral in San Luis de la Paz, a man from the US Embassy showed up to give Juan’s young widow his posthumous citizenship papers. Almost two years after reading this story in the news, and screening Una Causa Noble throughout the US and Mexico numerous times, we had the distinct honor of meeting some of López’s family and sharing our film with them.
The occasion came about last November. We were at a film festival in Ft. Lauderdale
and someone asked us if we knew what had happened to Juan’s wife. We didn’t readily have the answer so we decided to call the reporter who had originally written the story. He was located in Georgia, an hour north of Atlanta. He informed us that Juan’s wife, Sandra, was still in Mexico. When we told him about our film, he mentioned that several of Juan’s family members resided close by in Georgia and that if we wanted to meet them personally and show them the film, he would handle all the arrangements. Needless to say, the prospect of this event was almost overwhelming.
The drive to Dalton, Georgia, was filled with both excitement and apprehension. We never dreamed that we would ever actually meet Juan’s family and here we were on the verge of doing so. Would the family be uncomfortable greeting us as filmmakers? Would they be able to appreciate our movie? Or would they be somehow unaffected by it, or worse yet, insulted? After all, we had exercised many creative liberties with our script that differed from the actual events.
We all planned to meet at the local library in Dalton where a private room was reserved for us to show the film. When we arrived, the reporter was on-hand along with a cameraman and a reporter from a local Hispanic newspaper. Shortly afterward, Juan’s brother, sister, brother-in-law, godson, and a few nephews and nieces arrived. The first handshakes were gracious but tentative. Nobody quite knew what to make of the situation. After some polite conversation, everyone took a seat and we put in the DVD, dimmed the lights, and held our breath.
| How can I describe the emotions that ensued? In the dark it was difficult to tell how the family was reacting. We thought we heard a few sniffles and there were moments that the sister seemed to be wiping her eyes. | |
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But we couldn’t really see their faces so we didn’t know what to expect when the film was finished. When we finally turned up the lights, there was a momentary awkward silence but soon Juan’s brother, Enrique, said in a shaky voice, “You did a wonderful job. It reminded me so much of my brother.” Then, Juan’s sister, Araceli, reached over to squeeze my hand and whispered, “Thank you for letting more people know about Juan.” Juan’s brother-in-law, Augustin, also held back tears as he told us, “He was like a ‘real’ brother to me. I still miss him so much.”
The remarkable coincidence was that the family had also been looking for us. Apparently, they had found an article about our film in a newspaper in San Luis de la Paz, and had been trying to track us down. Later, as we were all getting ready to say goodbye in the parking lot outside, Enrique handed me a key chain with a photo of Juan on it that was made in his brother’s memory. I didn’t know what to say. We gave each other a big hug, and it was then that I realized we had now come full circle with this film. We had somehow returned to the very source of what had inspired us at the outset—the sacrifice of the López family.
What I hope people will always remember is that courage is not just limited to those who wear a uniform and knowingly place themselves in harm’s way. While we indeed respect their patriotism, honor their service and mourn their passing, we should never forget the ones they have left behind. The word “courage” also applies to them for they are often forced to reassemble the pieces of their shattered lives and somehow manage to endure. “Living” can require its own courage, its own resolve—and is always more complicated and more demanding than death. I learned this by looking into the eyes of Juan’s brother and sister. There was still something almost shell-shocked in them, a dim reflection of a devastating loss—but there was also an unmistakable glint of faith. To think that perhaps in some miniscule way, Una Causa Noble has given them a measure of added strength or helped preserve Juan’s memory is ultimately more fulfilling than any award or prize we could ever hope to win.
Cast and crew members will be on hand for a question-and-answers session after each screening.
Documentary captures horror of Katrina
Global Justice film
When the Levees Brok
Part 1: Mon, Feb 19, 3pm
Part 2: Thurs, Feb 22, 3pm
Teatro Santa Ana, Insurgentes 25
50 pesos
Spike Lee’s powerful documentary about Hurricane Katrina, When the Levees Broke: A Requiem in Four Acts, is this week’s featured film in the Center for Global Justice Snowbird Film Series. Originally produced for HBO in four one-hour “acts”, it will be shown in two parts with Acts 1 and 2 set for 3pm, Monday, February 19, and Acts 3 and 4 at 3pm on Thursday, February 22.
As the world watched in horror, Hurricane Katrina hit New Orleans on August 29, 2005. Like many who watched the unfolding drama on television news, director Spike Lee was shocked not only by the scale of the disaster, but by the slow, inept and disorganized response of the emergency and recovery effort. Lee was moved to document this modern American tragedy, a morality play witnessed by people all around the world.
This intimate, heart-rending portrait of New Orleans in the wake of the destruction tells the personal stories of those who endured this harrowing ordeal and survived to tell the tale of misery, despair and triumph.
The film also looks at a community that has been through hell and back, surviving death, devastation and disease at every turn. Yet, somehow, amid the ruins, the people of New Orleans are finding new hope and strength as the city rises from the ashes, buoyed by their own resilience and a rich cultural legacy.
To make the film, Lee visited the Gulf Coast region nine times and interviewed more than 100 people, including the mayor of New Orleans, the governor of Louisiana, Sean Penn, Soledad O'Brien, Kanye West, engineers, historians, journalists, radio DJs—even the guy who spotted the vice president during a post-Katrina photo-op and told him, “Go f--- yourself, Mr. Cheney.” Critics have called When the Levees Broke the most essential work of Lee’s 20-year career.
Act I covers the storm’s arrival; Act II chronicles the failure of the emergency response; Act III follows an abandoned community coming to grips with all that it lost and Act IV addresses the halting, haphazard effort to begin again. Images and ideas echo through each act like a fugue. Lee’s voice is rarely heard; he lets the people of New Orleans and Terence Blanchard’s thundering brass score, dizzy with grief, do the speaking for him.
We all know that our government failed us when Katrina hit. What Lee most importantly reveals is how it continues to fail fellow Americans in the Gulf Coast—race be damned—to this day.
Bioneers films address corporate power
Monsanto vs Saskatchewan farmer
Just say no—to corporate rule
Tues, Feb 20, 3pm
Teatro Santa Ana
Insurgentes 25
50 pesos
On Tuesday, February 20, two powerful films will be shown that address the issues of corporate power. One addresses the issue in an international framework (Canada), and the other addresses the rights of a corporate entity vs. the rights of local governance (Pennsylvania). In 1896 corporations received the rights of a “legal entity”, equal to the rights of a living human being by the mistake of a young law clerk and the oversight of a sick judge.
The first film is a David and Goliath story set in Canada. Percy Schmeiser, a rapeseed farmer from Saskatchewan, came to Bioneers to tell his poignant story first-hand. One could not imagine, no less believe, the underhanded sleazy tactics that Monsanto Chemical Co. used to try and intimidate the local farmers. When Schmeiser stood up to them, Monsanto took him to court! This film is powerful testimony both to the virtually unlimited power of corporations, but also to the courage and integrity of a single farmer who would not be intimidated.
The second film features one of Bioneer’s most popular speakers, Thomas Linzey.
A Pennsylvania-based activist and attorney, Linzey is co-founder of the Community Environmental Legal Defense Fund. This group provides legal services to municipal governments in seeking creative legal strategies for democratic control over corporations. He speaks of the story about a group of conservative Pennsylvania farmers organizing to fight a huge packing plant corporation. Linzey also founded “The Democracy School,” that holds workshops to help people learn how they can take back governance at the local level.
An optional conversation café follows the films in the Café Santa Ana.
Cinemateca
José Luis’s Pick and Tips:
The pick
Una Causa Noble (A Noble Cause)
Produced here in San Miguel, this film was directed by Miles Merritt, written by Carlos Pascual, edited by Gail Kempler and scored by Gil Gutiérrez. This is the same team that brought us the San Miguel classic El Cochero. In this film, Ignacio and Marina, a young Mexican couple, disagree over what is best for their young son’s future. Ignacio has been working most of the time in the United States and believes more opportunities exist for them up there. Marina feels that their son is better off being raised among family and tradition. In order to try to keep the family together in Mexico, Marina and Mama Lola (Ignacio's grandmother, played by the celebrated Mexican actress Marta Aura) apply for a government loan to open a small clothing shop. But Ignacio is determined to obtain US citizenship for the family and decides to join the US Army. Powerful, poignant and poetic, this timely short film has been a big success at various film festivals internationally and was a sell-out here last summer.
The tips
In order to be able to provide the best viewing experience, the show times for some movies may be adjusted to accommodate their length. Be sure to check the schedule carefully. Also, please remember the new ticket price of 50 pesos. Discount cards are 450 pesos for 12 shows.
On Monday after 12pm, buy your tickets for any selection of the week. Don’t take the risk of being locked out! Nos vemos en el Cine….
The Career of Nikos Dyzma (Kariera Nikosia Dyzmy, 2002)
Monday, February 19, 6:30pm
Friday, February 23, 6:30pm
Foreign comedy, Polish with English subtitles, 110 minutes
Director: Jacek Bromski
Cast: Cezary Pazura, Anna Przybylska, Ewa Kasprzyk, Katarzyna Figura
Nikos is a master of funeral ceremonies (i.e., an undertaker) who doesn’t expect much from life. After drunkenly insulting a diplomat at a party, weird things begin to happen for Nikos. The news that a mysterious stranger offended the hated Deputy Prime Minister galvanizes the political elite assembled at the banquet, and a rumor that Nikos can take care of anything spreads like wildfire, making him an idol of the masses.
Carol's Journey (El Viaje de Carol, 2004)
Wednesday, February 21, 7:30pm
Thursday, February 22, 5:30pm
Wednesday, February 28, 5:30pm
Foreign drama, Spanish with English subtitles, 100 minutes
Director: Imanol Uribe
Cast: Clara Lago, Juan José Ballesta, Alvaro de Luna, Maria Barranco
The Spanish Civil War unfolds through the eyes of a child in Imanol Uribe's sensitive coming-of-age drama. Uprooted from her home in New York, 12-year-old Carol (Clara Lago) travels to her mother’s native village in Spain. Separated from her adored father, she struggles to adjust to her foreign new life. But through her relationships with her grandfather, a teacher and a local boy, she gains perspective on her situation in a nation divided.
Una Causa Noble (A Noble Cause, 2006)
Tuesday, February 20, 5pm
Wednesday, February 21, 5:30pm
Spanish with English subtitles, 74 minutes
Director: Miles Merritt
Selected cast and crew members will be on hand for Q&A after each screening
In this film, Ignacio and Marina, a young Mexican couple, disagree over what is best for their young son’s future. Ignacio has been working most of the time in the United States and believes more opportunities exist for them up there. Marina feels that their son is better off being raised among family and tradition. In order to try to keep the family together in Mexico, Marina and Mama Lola (Ignacio's grandmother) apply for a government loan to open a small clothing shop. But Ignacio is determined to obtain US citizenship for the family and decides to join the US Army.
Kids’ cartoons
Saturday, February 24, noon
Free
Musical Saturdays:
Wagner’s Die Meistersinger
Saturday, February 24, noon
Sung in German with English subtitles, 266 minutes
Next week: Wagner’s Tristan Und Isolde
Die Meistersinger von Nürenberg is Wagner’s only comedy, an opera that will appeal to many who don’t usually care for Wagner’s operas. It is handsomely staged by the Deutsche Opera Berlin in a witty, musically polished interpretation. The characters (medieval German bourgeois craftsmen and artists) are recognizable types you might still see today and are three-dimensional, warm and funny. Except for the villainous Beckmesser (Wagner’s caricature of the music critic Hanslick), the people in Die Meistersinger are relatively free of the kind of obsessions that haunt so many characters in other Wagner operas.