Sin Nombre (2009)
Directed by Cary Joji Fukunaga
Sayra, an Indigenous Latina American teenage girl from Honduras, Central America, hungers for a better life. Her chance for one comes when she is reunited with her long-estranged father, who intends to emigrate to Mexico and then enter the United States. Sayra's life collides with a pair of Indigenous Latino American gang members from Mexico, North America who have boarded the same USA-bound train.
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What critics compared Sin Nombre to
That fad has petered out, but it seems that world filmmakers are now trying to duplicate the success of another, not dissimilar movie: City of God (2003).
It's maybe not always the very best facets of each, but he has managed to take the pseudo-documentary grit of something like City of God, where the pervasive decay at least feels authentic, and put it into the service of a narrative that Anglo-Americans will find easily digestible.
In his debut feature, Cary Fukunaga mashes up the tale of the arduous journey across borders with the developing world gangster drama as exemplified by City of God .
It can be described as a mixture of “City of God” and “El Norte”, drawing from the former a lurid fascination with gangs and from the latter a compassionate identification with Latino émigrés.
While watching Sin Nombre, I was reminded of several great films about both the gang experience (City of God, for example, although Fukunaga's film is far less stylized) and the journey of immigration (El Norte).
Think “City of God” on the road and you’ve got the idea.
It’s a good one, very well directed by Oakland’s own Cary Joji Fukunaga ( Sin Nombre , Beasts of No Nation , True Detective ), who was an inspired choice to replace late project dropout Danny Boyle (a good director, albeit probably not for this franchise).
Barring a stunning car chase sequence through the stony steps of the aforementioned seaside town, a setting whose capturing recalls Fukunaga’s work on “Sin Nombre,” the action is brief.
There’s no lack of style or pace from director Cary Joji Fukunaga, whose past work includes interesting films such as Sin Nombre (2009), Jane Eyre (2011) and Beasts of No Nation (2015).
The 44-year-old Cary Joji Fukunaga (“Sin Nombre”/”Beasts of No Nation”) is the first American (of Japanese heritage) director of a Bond film (in this 25th Bond film) and he also has the honor of helming the longest Bond film ever clocking in at 163 minutes, in this pandemic-delayed by 17 months film that finally makes it into theaters this September.
His debut, “Sin Nombre,” is a masterpiece about the experience of migrants crossing into the U.S. from Central America and his “Jane Eyre” adapted Charlotte Brontë into gothic dreaminess.
With Sam Mendes vacating the director's chair following the wildly successful Skyfall and Spectre, the excellent Cary Joji Fukunaga ( Sin Nombre , Beasts Of No Nation) replaces him.
In some ways, “Sin Nombre” examines a society as corrupt and destructive as the one in Matteo Garrone’s “Gomorrah.”
Sin Nombre arrives in theaters on the heels of another powerful gangster movie, Matteo Garrone's Gomorrah.
Shooting in the English Midlands countryside, director Cary Joji Fukunaga ("Sin Nombre") conjures an authentically mysterious/beautiful milieu, while scripter Moira Buffini preserves the elaborately polite (however menacing) and formal language that is one of the novel's chief delights.
The director here is Cary Fukunaga , whose “ Sin Nombre ” was one of the best films of 2009.
This new version from director Cary Fukunaga (Sin Nombre) with script from Moira Buffini, uses both approaches.
Fukunaga showed skill with his remarkable debut feature Sin Nombre, but Bronte's words have brought him new emotional depth, along with two actors perfectly suited to their inscrutable characters.
Cary Fukunaga, who made one of the most impressive directing debuts this cen tury with the sweeping Mexican immigration thriller "Sin Nombre," tries something radically different with his low-key, proto-feminist "Jane Eyre" -- the 19th big-screen version of the Charlotte Bronte classic.
In his second feature, Cary Fukunaga ("Sin Nombre"), deftly emphasizes the modern elements of Charlotte Brontë's 1847 novel, though he's less skilled at creating a gothic tone.