Film Analysis: "Alamar"

In his article on film theory, Gordon Gray states that neo-realism is an “ideological move…away from…the artifice of Hollywood cinema” (46, Gray). The film “Alamar”, created by Pedro Gonzalez-Rubio encompasses this basic concept, along with many other neo-realism features. Filmed in the beautiful setting of the Banco Chinchorro reef on the coast of Mexico, “Alamar” or “To the sea” is able to convey basic, yet very real ideas in a way that is not overly dramatic. The premise of the film is based on a young boy, born to an Italian mother living in Rome and a Mexican father living a very modest life in a small, tropical fishing village. As his final farewell to his father, “Natan” spends the summer learning about his traditional Mayan origins and bonding with his father in an environment that he is not accustomed to. Unlike most Western, or Hollywood style films which feature major events to influence the plot in drastic ways, Alamar is more about showing a way of life while using the beauty of natural surroundings, and expressing raw human emotions. It proves its ability to be emotionally moving, with an “emphasis on the values of ordinary people” (46, Gray) while remaining minimalistic.

“Alamar” fits the Neo-Realism category with its presentation of the poor working class, its long nature shots, and the use of non-professional actors. Although the film is not a true documentary, the actors are in fact playing themselves in the film. Gray states that the “use of ordinary people rather than professional actors was intended to create a greater sense of realism and thus give the scenes more authentic power” (47, Gray). The focus of the film is mainly on the stripped down relationship between father and son, which is easily recognizable between these two characters. By introducing Natan to a simple but rather fulfilling lifestyle that is based on the beauty and appreciation of nature, the father is able to create a strong bond with his son. Through their relationship, the viewer may extract a deeper message that forces them to look at the way that they live, and the things that they value. This pays tribute to the “focus on emotional veracity rather than the articulation of abstract ideas” (46, Gray). The film does not present their lifestyle, or their relationships, in an idealistic fashion. The approach is more realistic, emphasizing the fact that although their life may be fulfilling, it may not be easy. The cinematography makes use of drawn out shots, accentuating the slow pace of life and beauty of the setting, making each scene important and revealing. This is a typical feature of Neo-Realism film, which generally avoids “trickery in editing, camerawork and lighting in favor of a more immediate ‘documentary’ style” (47).

In terms of significance or lessons revealed through this film, is very straightforward, allowing the viewer to take what they want from it. There is minimal dialogue, leaving the individual to create their own interpretations or meanings and refusing to “make easy moral judgments” (46, Gray). The “use of conversational speech rather than, formal, more literary language” (47, Gray) is yet another feature of neo-realism that is very suiting to this film in particular. The intent of “Alamar” is not limited to one message regarding basic human relationships, but is open to interpretation. It exposes a culture and a lifestyle while also creating a meaningful link to the landscape of the Banco Chinchorro coral reef ecosystem, which is currently under the attempt of being made into a protected World Heritage Site. Lastly, the film also speaks to important life lessons of “impermanence and letting go” ((Holden, 2010), which may apply to everyone in one way or another.