With increasing relevance in a world where our basic empathy towards one another is often disrupted due to social constructs, persuasive political agendas and ignorance, From Nowhere delicately humanizes and portrays with compassion and realism, the stories of three undocumented teenagers living in the Bronx. At a time where Trump’s latest deportation crackdown, the potential for anti-immigration Marie Le Pen to take French presidency and rising social stratification make the front pages of the BBC every day, From Nowhere is needless to say an important film with a necessary message. If film is supposed to cross cultural boundaries, uniting audiences through stories and challenging the diversity of their perspectives, Matthew Newton’s From Nowhere has succeeded in doing so.
The film follows the journey of three undocumented teenagers – Moussa (J. Mallory McCree), an astute and motivated student from the Republic of Guinea, Sophie (Octavia Chavez-Richmond) a Dominican girl whose neglect and abuse she receives at home manifests through her anger in the classroom, and Alyssa (Raquel Castro), a cheerful and ambitious A-grade student originally from Peru. With the help of an often crude and blunt lawyer (Denis O’Hare) and their compassionate teacher (Julianne Nicholson), the three attempt to gain the necessary immigration papers to become American citizens while navigating through adolescence.
The film featured well-written dialogue that flowed naturally and brilliant acting from newcomers who deliver their roles with believability (I was particularly impressed by Octavia Chavez-Richmond who plays Sophie). The combination of the two allows viewers to share these character’s sense of anxiety and provides an intimate view on those who are often invisible in society.
What the film banks on is its moving narrative. The film was adapted from a play written by Newton’s collaborator and scriptwriter for the film, Kate Ballen, who wrote about her experience as a teacher in the Bronx. There is a certain subtlety to the delivery of the narrative. Newton rather than creating a melodramatic film, carefully avoids dramatizing the emotions and experiences of these characters, thereby maintaining a sense of realism and integrity. Furthermore, what could have easily become a political statement is rather presented with an unbiased and balanced perspective. Newton is neither criticising nor praising the social system and often portrays glimpses of kindness within the system e.g. the kind police officer and the compassionate landlord.
However, the poorly composed, often static and repetitive shots degrade the quality of the film. It demonstrates both a lack of taste and in some instances, lack of attention to detail. Several scenes featured shoulders jutting out awkwardly from the corner of shots, distracting asymmetrical lines and objects in the background of important shots and at times awkward camera angles. At one point, the over-exposed background of the New York skyline becomes the focus of attention during one of the most important dialogues in the film. Though the simplicity of the film aids in maintaining a sense of realism and authenticity, in this case it presents a missed opportunity. Film is a medium where the visuals drive the narrative just as much as the dialogue, if not more and thus the experiences and journey of these characters could have been better represented.
As a whole, Matthew Newton has created a moving film that is incredibly relevant and important in the 21st century. Though there were some issues in its delivery, it is definitely worth watching.
From Nowhere
(ages 15 and over)
American Essentials Film Festival
screening from 9 May nationally
