Exploring the fragile nature of a child’s soul, whose world gets torn apart after a traumatic event, is a theme frequently addressed in the Coming-of-Age cinema.

It is also the central theme of the 2017 Mexican film Cuernavaca written and directed by Alejandro Andrade. In it a young boy’s life changes entirely after his mother gets hurt in a store hold-up. With an absent father and an aunt living far away in Canada, young Andy (Emilio Puente) is taken to Cuernavaca to the home of his distant paternal grandmother (Carmen Maura).

Most Mexican films I have seen never miss addressing class inequality, and Cuernavaca is no exception. While Andy’s grandmother lives in a lush mansion, only the walls of its garden are separating it from a world of poverty and crime. Andy’s grandmother has enough on her hands, with an estate to look after, a disabled daughter (played by Dulce Domínguez) and last, but not least, a trauma of her own that she is still struggling with.

Acting

The quality of the acting performances is not consistent across the cast, especially in the case of those with supporting roles. Yet since the film’s narrative focuses strongly on Andy’s experiences, it has to be noted that Emilio Puente’s acting is convincing enough in portraying a spoiled, yet impressable, preteen who still has a naïve look regarding society and life in general. His character development is mostly done through visual hints and dialogue that is effective enough so that,  in the first ten minutes of the picture, one gets a pretty good idea of the personality of the main character. He’s a shy, loner of a boy who is growing up while rarely seeing his father – lacking a male role model that has turned him into what’s best described as “mommy’s little boy”. The film also features a stunning performance by Carmen Maura.

Trailer

A stranger at his grandmother’s house, Andy is looking for support and acceptance. Intriguingly enough it is not the grandmother that offers him compassion, but her mentally challenged daughter and the son of the gardener – although their manner of doing so and their personalities could not be more different. Naturally the lack of a male role model has contributed to the afflictions of the main protagonist and his nativity impairs the recognition of the fact that compassion can turn into exploitation in the blink of an eye.

The interpersonal relationships explored by the narrative bring to mind two other Coming-of-Age films: The Spanish Gardener (1956) in character definition and the need for a role model,  and John John in the Sky (2001) for the portrayal of the positive nature of the friendship between a young boy and a disabled woman.  The narrative of Cuernavaca also includes some slight homoerotic overtones, highlighted by the camera and hinted at as the story develops.

The biggest flaw of the film is the lack of originality in its narrative, a fact that gets compensated for by the beautiful cinematography and slightly melancholic, yet suitable, musical score.  If you’re looking for a film that has swift exciting action, you won’t find that in Cuernavaca. The plot develops at a slow pace, not untypical for movies with similar motifs. But almost all films that deal with grief, etc. use that approach.

Visual Aesthetics

The cinematographer uses a warm color palette that prettifies the images. Some of the most visually appealing scenes represent the dreams/nightmares of the main protagonist, with extreme close-ups and slow motion artistically combined. The musical score too is one of the better ingredients in the cinematic structure of Cuernavaca due to its unobtrusive yet rhythmic patterns, which perfectly fit with the events on screen.

If you haven’t seen many Coming-of-Age films with a similar theme, you are likely to enjoy the film more than I did. While I appreciated its beautiful aesthetic, the masterful acting of Carmen Maura (I know several elderly rich Spanish women whose behavior is just like her characterization) and the aspiring Emilio Puente as Andy, for me the film did bring on a slight sense of boredom. I did not discover many nuances in repeated viewings prior to writing this review, which is why I do not believe that the film is capable of lingering in the viewer’s mind after the final credits roll.

[imdb]https://www.imdb.com/title/tt4599584/reference[/imdb]

Cuernavaca (2017)

In short

Cuernavaca explores the fragile nature of a child's soul, whose world gets torn apart after a traumatic event.

4

Our Rating

Available at Amazon Video

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Over a hundred years ago, poverty was terrible in the mountain region of northwest Italy. Unable to feed everyone, many families were forced to rent their children to the peasants of the plains.

Some unlucky children were being picked up by men who sold them to shepherds in the French mountains. The Story of Cino – The Child Who Crossed the Mountain tells the story of one such child – Cino.

The movie feels like a fairytale throughout its duration, largely thanks to the beautiful cinematography featuring stunning panoramas of sublime mountain scenes shot in vibrant live colors.

Both the screenwriter and the director of the film (father and son) have significant experience in documentary productions, which enhances the portrayal of nature in the movie.

As far as the story goes – it is told from a child’s perspective and, while it can interest older viewers, some may have to cut it some slack as it is clearly aimed at younger audiences.

Naturally, the Coming-of-Age motifs are present, especially if one attaches a symbolic meaning to the young Cino’s journey through the mountains. Unfortunately, the narrative is not without imperfection. More often than not it is way too gullible and predictable for one to get involved with the story. There is a surprising plot twist in the final scenes, but it feels too little, too late to salvage the story’s appeal.

The cast is comprised predominately of amateurs. The characters are clichéd though the kids in the main roles – Stefano Marseglia as Cino and Francesca Zara as the little girl Catlin that he befriends are charismatic enough and shot in the correct manner as to contribute to the already beautiful nature scenes in their own manner.

Supported by Unicef ​​for “the delicacy with which it addresses the issue of child labor,” The Story of Cino – The Child Who Crossed the Mountain is an easygoing, family-friendly movie  — beautiful to look at, while not memorable.

Trailer

[imdb]http://www.imdb.com/title/tt3100482/reference[/imdb]

The Story of Cino – The Child Who Crossed the Mountain (2013)

In short

An easygoing, family-friendly movie  featuring beautiful panoramic scenery.

2.8

Our Rating

A perplexing portrayal of juvenile delinquency intertwined with grief and trauma,  Orphans and Kingdoms offers a unique take on the fragility of the human soul.

Its main protagonists are three foster kids: Kenae (Calae Hignett-Morgan), Tibs (Hanelle Harris) and Jesse (Jesse James Rehu Pickery) who make ends meet by stealing and doing other petty crimes.

When they find themselves on Waiheke Island (off the shore of Auckland, New Zealand) the kids decide to break into one of the fancy villas overlooking the bay. When they succeed in sneaking into a seemingly vacant mansion, awed by property’s premises they have the time of their lives living the “millionaire style“.

Exhausted from all the fun, the kids almost miss the return of the property’s owner – an event that results in a disastrous clash turning everyone’s life upside-down.

The film doesn’t manage to grab one’s attention at the beginning, as the character development occurs at a rather slow pace. Initially, it appears as if the goal of the narrative is to express disapproval of the behaviour of the kids. When they break into the house, the theme of social injustice gets introduced. What gives the right to some people to indulge in luxury while many others can’t make ends meet? It’s a rhetorical question, yet especially valid for someone like me living in an island abundant with luxury villas and vacation homes.

Gradually more information about the characters is revealed, and we learn more about the kids and the house owner who turns out to be suffering emotionally as a result of the suicide of his son who was of age not much different than that of the kids who have broken into his house. The trauma rationalizes behaviours that under other circumstances would appear as abnormal.

The story of Orphans and Kingdoms is an original one yet, at the same time, perplexing and similar to some Scandinavian art house flicks. It takes some reflection, after the final credits roll, for the viewer to fully realize the nature of the narrative’s message.

The settings are somewhat limited and that gives the film an atmosphere of a play at times. Additionally, while the characters speak English, they do so in a Kiwi accent that takes a while to get used to. The Coming-of-Age motifs are present and change is one of the essential themes of the narrative.

Orphans & Kingdoms Trailer

When it comes to acting, the performances are good overall for the entire cast, but especially that of Calae Hignett-Morgan. He impresses me most probably because of the rich nuances and volatility of his character’s personality. His strong performance is reason enough to watch the film even if you are not fond of such dramas per-se.

I recommend Orphans and Kingdoms, but believe it’s necessary for people to devote some time after viewing it to think about its message (I actually started to better appreciate the narrative after discussing in detail with a friend after I was initially unsure of what to make of the story, its open-ended finale…etc.)

Orphans & Kingdoms (2014)

Conclusion

A perplexing portrayal of juvenile delinquency intertwined with grief and trauma. A unique take on the fragility of the human soul.

3.8

Our Rating

Watch it for free

Amazon Prime

With an absent mother, frustrated father and an elder sister whose raging hormones turn into a nuisance – life is not easy for 11-year-old Tommaso (Alessandro Morace). He is the protagonist of Along the Ridge (Anche libero va bene), an Italian Coming-of-Age drama with a strong accent on the interpersonal relationship within the family.

The plot focuses on displaying the dramatic in ordinary situations and, while some may not find it has a coherent development – it still manages to encompass a significant number of motifs that frequent Coming-of-Age narratives such as the differences between social classes, friendship, the relationship between parents and kids, first-love, ambitions, and change in general.

Alessandro Morace delivers a compelling performance in the role of Tommaso. He is on screen in almost every scene (the story is told from his viewpoint after all) and it is his sincere acting which allows the viewers to feel for the struggles and tribulations of his character — a character who is charismatic, yet subjected to an emotional pressure hinted at by his eyes and expressions.

Admittedly I half-expected a much more dramatic ending – yet am not completely disappointed with the one the film has as it is in line with the rest of the narrative – sticking to a reality in which a no easy-way out is rare.

If you are not used to the realistic approach to storytelling, the film’s length may not be to your taste – especially for people looking for exciting twists in the story. That’s probably the reason why the film is likely to find fans mostly from among older viewers or those who enjoy the experience of discovering a natural talent in first-time child actors.

Trailer

If you want an uplifting Italian flick with Coming-of-Age overtones, Along the Ridge won’t fill the bill. But you probably will enjoy Gennaro Nunziante’s 2013 comedy Sole a catinelle (Sun in Buckets). If, on the other hand, you like the honesty and realism portrayed and look for similar titles – I recommend the 2011 indie film  A Little Closer or the Italian, Incompreso (1966).

Along the Ridge (Anche libero va bene)

In short

An Italian Coming-of-Age drama with a strong accent on the interpersonal relationship within the family.

3.8

Our Rating

Get the film

DVD

If you like to waste time and feel a bit naughty doing it with the help of a film filled with senseless jokes, Bad Manners is a perfect pick. The best part about it is the rocky musical score and frankly that vintage garb that everyone wears.

In a way, the film is a bizarre satire of life in the 80s in the USA – ridiculous, but so funny at times (and often a bit offensive). In a way, the experience of watching it is enjoying the guilty pleasure of enjoying its jokes.

If you are looking for a suitable, more recent, title to compare Bad Manners to – it would be Gene Stupnitsky‘s 2019 American Coming-of-Age film, Good Boys. Though, in all honestly, the scenes in that film don’t quite match the quirkiness of this 1984 flick. After all, scenes in which kids smoke, drink and make remarks about the human anatomy (PARENT ALERT) – are not likely to sneak by today’s morality censorship. It’s still mixing juvenility and vulgarity like in Good Boys but, for some reason, the wild and anarchic action (as there is not that much of a coherent story) is much more fun to watch.

The pace is fast, the thrills are exciting. Watching the film is like a rollercoaster ride. While you may not get much out of it, boy is it wicked fun to watch!  It’s about kids with attitude and energy, about disobedience and rebellion – and the slogan printed on the poster does not lie in promising that:

“Those kids will steal your heart …. (your wallet, your tires, your sanity)“

Trailer

[imdb]https://www.imdb.com/title/tt0087366/reference[/imdb]

Bad Manners (1984)

In short

Bad Manners is a bizarre satire of life in the 80s in the USA – ridiculous, but so funny at times. While you may not get much out of it, boy is it wicked fun to watch!

2.3

Our Rating

The Black Man (L’uomo nero) is the kind of Coming-of-Age film in which the main protagonist reminisces his childhood and all of the experiences and tribulations that have profoundly shaped and molded his persona. As typical for these kinds of narratives, the story is told from a child’s perspective, which makes it progressively inventive, mischievous and dazzling – all mixed in with bittersweet nostalgia.

The film takes us back to a small Italian village during the 60s, focusing on the goal of a rail-station employee to realize his artistic inspirations by drawing paintings – a hobby that has transformed into a wholesome obsession, affecting not only his personal life, but that of his family as well and especially of his seven-year-old son Gabriele (Guido Giaquinto).

Childhood is a magical time in most peoples’ lives and its portrayal in this film expresses the imagination of the young Gabriele, who frequently resorts to it when forced by the irrational (to his mind) behavior of the adults around him.  Yet this approach only enhances the real world without diminishing the dramatic value of the narrative.

The excellent casting of the young Guido Giaquinto as Gabriele is wonderful, as the innocence of his character frequently shines through his gaze and facial expressions. He finds himself in all kinds of bittersweet situations typical of children of that age: running barefoot on the streets, stuffing himself with candy, sneaking a peek at some naked ladies while with his uncle, kissing a girl and getting into all kinds of mischievous adventures.

The dynamic relationship between father and son is explored wholesomely with all of its traits – from loving care to frustration and from pride to disappointment. Because of his father’s ambitions, Gabriele’s childhood is a troubled one – yet still full of magic and awe.

The cinematography is beautiful and the way the Italian landscape and characters are portrayed reminds me of I’m Not Scared (2003) – another film with an Italian director with an emphasis on the rite-of-passage of its protagonist.

The experience of watching L’uomo nero (or The Black Man as it’s title is translated) can be compared to  reading a good autobiographical book. There are enough story motifs to intrigue the mind of the viewer while, at the same time, allowing for complete immersion into the bittersweet memories of one’s own childhood.

Trailer

[imdb]https://www.imdb.com/title/tt1451393/reference[/imdb]

The Black Man (2009)

In short

A Coming-of-Age film in which the main protagonist told from a child's perspective, progressively inventive, mischievous and dazzling – all mixed in with bittersweet nostalgia.

4.2

Our Rating