El Paso (Zdenek Tyc, 2009): Czech Republic

Reviewed by Skylar Harrison. Viewed at the Santa Barbara International Film Festival, Metro 4 Theatre.

The Czech film, El Paso, directed and written by Zdenek Tyc, tells a compelling story of a Romani mother of seven fighting to keep her family together after the death of her husband. In this film, Irena Horvatchova, although without an impressive acting resume, perfectly captures the gritty reality of a lower class, minority woman, scrambling to hold onto the only thing she has left: her children. Far from the socialized concept of beautiful, clad in barely any makeup and cheap clothing, Horvatchova does something rare—makes a real woman look beautiful through her blatant strength, street smarts, and unconditional motherly love. The viewers do not watch an actress but a woman, making the storyline all the more convincing

El Paso begins with a home video feel with a soft focus, following a father and his son bonding over a misty day and a peach tree. The son throws a soccer ball into the quit street, his father runs to retrieve it, and is killed by a car. Now the plot truly begins: Vera and her seven children are evicted from their comfortable home and are left more than $200, 000 in debt. In the children’s first trip in a car, they are hauled to an almost prison like apartment (equipped with security cameras and guards) big enough for only two people.

A photographer hears of the eviction and recognizes the unjust racism and class discrimination connected with the tragedy. He then, with much persuasion, convinces his female friend and ambitious lawyer to take on the hopeless case. This may sound like a typical plot, yet the strong minded Vera takes the storyline past the predictable by capturing the reality of a lower class woman fighting against white social workers; Vera is untrusting, stubbornly ignorant, self-pitying, and does not want this posh white woman’s help.

Class is the obvious social issue the film focuses on; however, it subtly weaves in gender and race, allowing the audience to piece together, theme by theme, the message of the film. The cinematography and mise-en-scene are key to understanding the class of the suffering Horvath family. The low-key lighting, overwhelming noises of the city, and jerky documentary like camera movements all emphasize the day-to-day struggle of the family. Even walking to school (of course they do not own a car) is a feat with seven children. In the apartment scenes, there are never wide shots, emphasizing their cramped, cluttered, and never clean apartment. The film frequently switches to security camera shots of the family leaving and entering their apartment. Through these slow moving black and white frames the message is clear; because of their class, they are like imprisoned animals watched through a glass TV screen.

The children ironically long to ride in a car once again, not bothered by the fact that an automobile killed their father. The car motif again pin points their lower class status but also functions as a “vehicle” that brings the family together as they let go of their past and self pity. A uniquely compassionate social worker who takes interest in the Horvath case, restores a Volkswagen like van sans an engine behind Vera’s back to thrill the children. They attempt many times to drive it past a huge hill but never make it.  Although Vera is initially furious, eventually Vera, the seven children, the social worker, and lawyer all unite in the van in a Little Miss Sunshine like scene. They all rock back and forth willing the engineless van to make it past the hill in a beautiful wide shot capturing the colorful van and first lighthearted moment.  They succeed: a metaphor for the mother’s acceptance of help from two higher-class individuals.

When Vera finally agrees to follow the advice of her lawyer, two strong women are united regardless of their class. Through this relationship the film not only highlights strong-minded women but unites different races and classes. Not through dialogue, but through acting is it evident that theses two women, however different, have helped each other diminish their rough exteriors. To accept help is not weak but empowering, and this act brought the film to a poignant climax when the audience understands people can help people regardless of their gender, class, or race.

This film does what many films that juggle many characters fail to do, as it provides evident change in each character that is believable but subtle enough to spark further thoughts within the audience at the film’s end. One will take interest in ever character and leave the theatre wondering where they are in their lives now.