When Vittorio De Sica helped craft the
cinematic movement known as neorealism, he was intent on finding lead
actors who lacked experience. If you didn't know that Demián Bichir was a star in Mexico, you might assume that director
Chris Weitz was following De
On the heels of a rally on the National Mall by advocates of immigration reform, religious leaders met at the White House on March 22 to plot strategy, despite a packed election-year political calendar.
In his first feature film, Cary Fukunaga delivers a beautiful and powerful depiction of the lives of Central Americans crossing through Mexico to the United States border. Sin Nombre (Without Name) unfolds mostly on top of trains, and it’s enriched by years of painstaking research, including Fukunaga’s own rides atop Mexican boxcars.
That religion is especially salient for new immigrants is a commonplace in the sociology and history of U.S. religion. That the U.S. is a nation of immigrants is often cited as a reason for the comparatively high level of religious observance and identification in this country.
An old Senegalese proverb says, “An elder who dies is like a library that burns.” This belief is at the heart of the small but moving independent film Goodbye Solo, directed and co-written by Ramin Bahrani. It’s also the conviction that drives the main character, Solo (Souléymane Sy Savané), an upbeat Senegalese immigrant to the U.S.