WATCH THE TRAILER HERE
WATCH THE FILM HERE
First, the Recap:
Gaze into the crystal ball and you will witness what’s to come. The age-old imagery associated with those who desire to seek the future remains cemented in our minds as a fantasy we so often wish could come true. Yet, in whatever age we find ourselves residing in, does it not beg the question–do we ACTUALLY want to know upcoming events and, if so, how drastically will it impact us? For high school student and avid photographer Ben (Danny Cano), it is East L.A., 1968, and the height of civil rights activism is in full swing. Yet, when a jarring reality begins to unfold before him thanks to the pictures he’s taken and developed, Ben’s own notions and convictions about both the current and foreshadowed state of society are put to the test.
Next, my Mind:
A well-executed, effectively clever, surprisingly potent, absolutely necessary glimpse into the eyes of both the past and the contemporary encompassed within a neatly packaged, science-fiction/fantasy-infused foundation, this 15-minute indie short film effort from writer/director/producer/editor Victor Aguilar and writer Roxanne Joseph puts a wonderfully fresh twist on the concept of seeing into the future while providing an equally magnetic illustration reflecting the advancement this world has experienced (both good and ill) while also being a completely relevant testimony of just how far we’ve come–and also how many things have remained the same, again, for better or worse. Given the current circumstances and turmoil we find ourselves as a nation and as humanity across the world right now, this critic certainly feels this is a very timely project to be viewed and pondered.
Smartly written and presented with uncomplicated, unambiguous visual delivery and perfectly paced ease, the narrative focusing on one young student’s extraordinary encounter with the future and how it takes hold of his mind’s eye and the cultural ramifications that accompany it provides not just sheer entertainment, but a real sense of contemplative fervor that holds just as much relevancy right now as it does in the context of the time era the lead character is in. Also the fact that the story finds itself based during a pivotal moment in the actual history of East L.A. in 1968, it just adds that much more depth and meaning while offering a uniquely crafted “what if?” perspective to the plot that showcases so much of just how things have indeed morphed and transformed over the years to the actuality we know, now seen through the baffled, excited, mystified, fearful, anxious, but ultimately hopeful eyes of an earlier decade.
Filled with its own levels of unrest and movements for definitive change based on its true history-based, 1968-set core, the film then addresses many facets of growth and decline in the world through a fantastical lens, exploring everything from technology and politics, acceptance and hatred, building up and tearing down of our neighborhoods, to the very apropos and highly evocative topic of racial equality, all seen from a person’s viewpoint that engenders both trepidation and joy. It finds me truly hoping that when people view this, there’s a resonance that occurs and that might even cause us each to evaluate our own ideas about the subjects portrayed, their application to our existence, and the ways that we might be voices of change where needed, support and understanding for others, making up our own minds, taking our own actions, and just a candid realization of what has regressed over the years, but also progressed for our betterment as well.
The film’s effects that are utilized to create the wondrous, stirring, and initially disconcerting snapshots Ben sees that both shake and reshape his attitudes of events is quite imaginative and totally engaging for the viewer, adding that aforementioned sci-fi sensibility to the otherwise fully realistic and believable scope the narrative guides us through. In that vein, Cano lends a relatable, down-to-earth, totally accessible air to the film through his role as Ben, a high sch0ol student whose love of photography ends up becoming a much more enriching, educational, unnerving, and elation-filled adventure upon learning the old style camera he owns for his art isn’t exactly as plain as he believes. Even as he finds himself privy to images that foretell things yet to transpire, it still works as a catalyst for him to reassess much, learn from it, and know that things might actually turn out ok. It’s a subtle yet powerful performance, and Cano plays it all with smooth, credible, persuasive yet perfectly understated strength.
The primary supporting role is found through Daniel Leiva as Ben’s friend Carlos, a student who’s quite the civil liberties advocate, pushing for equal representation, and trying his level best to be convincing enough to entice Ben into joining an upcoming activist demonstration being orchestrated at their high school. Other supporting appearances are made by James Lemus, Irving Delaluz, Luis Rodriguez, Jahmani Lockett, Luis Orozco, Tony Joyen, Jonathan Gutierrez, Juan Lopez, Kevin Mostyn, and even Aguilar himself. So, in total, “It Happened One Day In East L.A.” carries both deeply historical significance and a wholly purposeful entertainment factor that is sure to please, proving yet again that the treasures being fostered and generated in the indie film community can so deftly offer us both enjoyment and cranial exercise, able to deliver statements that affect us while, we hope, allowing us to look with optimistic expectation at the future yet to be revealed.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
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