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.
As yet another cargo train thunders past her house in Fortín de las Flores, Mexico, Benita Juárez wraps a scarf around her head and looks up. In addition to its usual load of sugar cane, coffee and automobiles, the train carries migrants traveling north from Central America.
Travel anywhere in the wealthy world—to North America, Europe or the Middle East—and you will soon find people from the Philippines. You may not actually see them, because many work in menial or invisible jobs, often in hotels and restaurants—positions where travelers scarcely notice them.
An economic migrant—a desert nomad—leads his family toward a land of promise, believing he is following the will of his Creator. And so begins the great trek for new life, survival, redemption. He will find danger, so much danger that he plans to pass his wife off as his sister. It is a trek repeated today in the heat of the Sonoran desert, in boats from Africa running ashore in southern Europe, in the hulls of boats from Fujian province to the shores of Long Island.
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