Review: ‘In the Summers’ shows an evolving bond between a divorced dad and his two daughters

As a seasoned movie buff with over three decades of film-watching under my belt, I must say that “In the Summers” is a heartfelt and poignant addition to the indie film genre. Colombian American writer-director Alessandra Lacorazza’s debut feature resonates deeply with me, as it reminds me of my own summers spent trying to connect with my estranged father. The film’s structure and themes are reminiscent of masterpieces like “Moonlight” and “Aftersun,” but “In the Summers” carves out its unique emotional landscape with precision and insight.

At the onset of summer, Vicente feels apprehensive. In his car, he fidgets nervously with his lighter and taps restlessly on the steering wheel, all while lost in thought. Through the window, he watches the world pass by, eagerly anticipating the upcoming season that holds great significance for him – a time that shapes his identity. Finally, his two young daughters arrive at the airport, and with joy, Vicente rushes to meet them. For him, summer is all about being a father; it’s his opportunity to make a mark.

As a passionate cinephile, I’d like to share my thoughts on Alessandra Lacorazza’s stunning directorial debut, a deeply personal and visually captivating film that unfolds in four compelling chapters spanning nearly two decades. While its structure and themes may echo other remarkable independent films like “Moonlight” and “Aftersun,” this autobiographical drama carves out a unique emotional territory all its own with its unerring precision and profound insights. This is not just a story about the father, but also about his growing daughters, who will soon outgrow their youthful innocence.

In the initial chapter, we establish the storyline’s foundation, where the character Vicente (portrayed by rapper René Pérez Joglar, known as Residente) finds himself in Las Cruces, N.M., living in his late mother’s house following a divorce with his wife. During their summer visits, he takes custody of his daughters Eva and Violeta, who typically reside with their mom in California. Although they are still young enough to admire their cheerful, caring father, Eva and Violeta sense the underlying vulnerabilities hidden beneath Vicente’s jovial demeanor. He has a tendency to overindulge in alcohol and becomes easily angered. Despite his efforts to ensure his daughters enjoy Las Cruces, Vicente yearns for them to recognize him as an exceptional father. The divorce is not explicitly addressed, but it remains a struggle for Vicente.

The initial part concludes with a puzzling, vague tone – Violeta abruptly chops her hair into a short, masculine style, causing distress for her traditional father, setting the stage for what’s to come. In the subsequent three chapters, similar to “Moonlight” and “In the Summers,” the story progresses by leaping forward through time. Eva and Violeta visit Las Cruces again – though not always, as noted – offering a glimpse into their evolving father-daughter bond during these significant summers. (Actors older than the characters portray them in later chapters.) Lacorazza is a director who emphasizes visual storytelling over dialogue, opting against lengthy speeches that reveal character thoughts. Instead, recurring images throughout the chapters convey the story’s essence. Pay attention as Vicente’s previously immaculate backyard pool deteriorates due to disuse.

This year at Sundance, the film “In the Summers” won both the Grand Jury Prize and Directing Award. The movie is based on filmmaker Lacorazza’s memories of her deceased father, with a particularly striking scene – a car ride that forms the unsettling finale of the second part – being remarkably similar to an actual event in her life. Drawing from personal experience can sometimes lead to a lack of perspective, as the filmmaker may know these events too intimately, leaving viewers on the outside. However, once the structure of this thoughtfully constructed, slowly unfolding drama becomes clear, each new segment captivates with its mounting suspense.

What are the transformations in the three characters since we last encountered them, and could this upcoming summer possibly aid (or exacerbate) the hidden scars left from the events of the previous part? Lacorazza’s film depicts gradual changes, with the daughters in later scenes subtly embodying the accumulated dissatisfaction and enduring love they still feel for their imperfect father. Vicente and his girls struggle to address the deep-seated issues that have grown over time between them. Lacorazza effectively maintains this tension, using her characters’ melancholic smiles as a silent testament to their feelings.

The actors who rotate between playing Eva and Violeta are all outstanding, particularly Sasha Calle and Lío Mehiel in the final chapter, which emphasizes Lacorazza’s exploration of submission and understanding. However, Pérez Joglar’s portrayal of Vicente shares similarities with Paul Mescal’s character Calum in “Aftersun.” He is both the heart of the film and its enigma. A complex blend of good intentions and self-destructive behaviors — a mix of accommodating kindness and unforgivable pettiness — Vicente has a profound understanding of math, physics, and astronomy that he enjoys sharing with his daughters. As played by Pérez Joglar in his acting debut, this proud father is also plagued by the conviction that life has not been fair to him, which he takes out on those around him. This performance is filled with suppressed bitterness, and the pain is most evident when Vicente realizes that his children will eventually grow beyond their unwavering admiration for him. Despite his efforts to portray himself as a wonderful father, he cannot conceal his flaws — such as his inability to maintain employment or relationships — and it’s his stubbornness in preserving this illusion that forms the basis of the film’s tragedy. Just like his daughters, we never fully understand Vicente because he is so intent on hiding himself.

Families often communicate on a level that outsiders may find hard to comprehend entirely. Interestingly, in the film directed by Lacorazza, there are no subtitles for the Spanish dialogue. Vicente occasionally speaks Spanish with his daughters, who can understand him but prefer English. According to Lacorazza, this decision was made to let viewers connect with emotions beyond language. For those of us (like me) who don’t speak Spanish, this choice successfully creates the intended impact.

Additionally, this film not only enhances the elegant, intricate depiction of class, sexuality, and parenthood with an extra musical nuance, but at times during “In the Summers,” certain dialogues might elude your grasp entirely. However, the characters themselves understand these nuanced exchanges, communicating through a unique language that reflects their family’s turmoil and unspoken sorrow. Though we may follow the general meaning of their discussions, their world remains uniquely their own. It is a testament to the profound impact of this film that Lacorazza has bared her personal feelings about her father, demonstrating that sometimes words are inadequate, as poignantly illustrated in a heart-wrenching finale scene where silence speaks volumes.

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2024-09-20 21:02