WATCH THE TRAILER HERE
First, the Recap:
That which we look to preserve and offer, ideally, as an inheritance to those who will come after or will take over the endeavors we’ve strived to maintain. It isn’t necessarily the easiest thing to accomplish, though it does help when what’s being carried forward is an already long-standing, well-established venture that virtually guarantees ongoing success. However, what occurs when a single decision threatens to upend it all, and the personal divisions it causes (or WILL) are hidden instead of handled? For Matias (Ramon O. Torres), a business foray has severely backfired, carrying ramifications that are now only known to his sister Cecilia (Diana Elizabeth Torres). With an annual family reunion dinner on the horizon that his mother Victoria (Romi Dias) and grandmother Anselma (Alma Martinez) are already at odds about as it is, can Matias find the means to correct his error before it is too late even as a family seeks long-overdue peace?
Next, my Mind:
Engaging in its whimsey, accessible in its grounded execution, persuasively relevant in its portrait of our human nature, and all-around entertaining from start to finish, this beautifully presented 87-minute dramedy that arrives courtesy of writer/director/producer/editor Nadia Zoe, writer/producer Ramon O. Torres, producer/executive producer Michael D. Karp, co-producer Francisco Covarrubias, plus executive producers Daniella Bradford, John Karp, Lauren Kirkpatrick, Cory Krueckeberg, Andrew Lunney, Simran Miller, Martha Olmos, Matthew Silverman, and Emilianne Smark carries itself with a candid but positive vibe that allows the effort to be a breath of fresh air and enjoyment that’s so needed in times when films involving darker or more sobering stories tend to be the norm. And mind you, there’s room out there for a little of everything, but again, it’s just been this critic’s grander experience that explorations of heavier subjects has been more common than overtly joyful (with only a LITTLE necessary but requisite drama like here) projects.
A narrative that delves into the initial trials (both funny and frantic) of a Mexican-American clan whose lives are interrupted by one member’s bad decision that now causes secrets to be both veiled and revealed as the ripple effects cascade through their relationships and attitudes as both individuals and a unit, I thoroughly applaud the film’s pacing here, as it keeps a well thought out briskness while not sacrificing character OR story development, making it clear its primary premise while adeptly fleshing out the details with due intent rather than through overly drawn out or unnecessary tediousness. What I also admired was the ability to have this successfully conveyed through a decently sized ensemble cast format that allows for the viewer to engage with ALL the characters and the particular parts they play (whether large or small) and get the opportunity to KNOW them and FEEL the myriad of ways we do ABOUT them to a nicely delivered extent without it feeling too “busy” or forced. This actually isn’t a complicated tale, and it is the straight-forward approach here that elicits the deeper appreciation of the writing, drama, and humor we get.
As this critic is highly consistent in pointing out when writing reviews, the indie film realms excel for me for the bounty of thematic journeys their stories, when done well, exhibit beyond just the foundational gists, and still another time, there is no exception to this rule here. We take dives into the notions of communication breakdowns, unresolved resentments, and straight up disagreements within the context of our ourselves and with others, the weight of familial expectations, assigning blame, feeling a sense of betrayal, resistance to accepting change and that things won’t BE the same in spite of our desire they would, parenting, teen angst, perceptions both justified and not so, being willing to FACE the realities of our choices, good or bad, how we just need to move ON rather than linger in an unsettled state of being, the dangers of secrets, the illumination of truths finally coming to the surface, how we tend to deflect and accuse instead of taking ownership of our own faults, and the sheer beauty of reconciliation all get screen time. What is excellent about these elements is that they’re manifested through BOTH humorous AND dramatic flair, which lends the atmosphere of credibility and relatability to what we see, leading to a finale that’s simple divine and magnificently cathartic without being pretentious or melodramatic.
The entire cast involved with this project work together with perfect chemistry and skillful, artistic energy, and I will strive to give as many direct props as I can (avoiding this reviewing turning into an encyclopedia-length piece!) while making it clear that I honestly did relish the WHOLE cast, as I feel there are no “small parts” as they say. Torres is a spirited, playful mix of rascal and rescuer through his role as Matias, an aspiring entrepreneur who puts his whole family’s heritage and hard work at risk when a business venture he’s pursuing goes very amiss. Not wishing to reveal anything about it while confiding in his sister to aid him in keeping the secret while he tries to figure out a solution, the build-up of the inner burden he’s carrying and placing on others could end up being his undoing–or an unexpected salvation for the clan. It’s a charming but also dramatically balanced performance Torres offers, making the character of Matias one you could NOT like in certain moments and then truly empathize and root for in others.
The “other Torres”, aka: Diana Elizabeth, makes her presence known with spunky bravado equally paired with believable vulnerability through her turn as Cecilia, Matias’ sister and an initially unwilling then reluctantly accepting accomplice in hiding his secret while trying to be a voice of reason amidst multiple family members at “war” with each other. Also trying to maintain her own family as well, it could end up being far too much for her to bear when push comes to shove and revelations begin to emerge that could irreversibly fracture the family unless cooler heads prevail and new understandings are reached. Torres exudes this controlled volatility that wonderfully compliments the character’s fluctuating demeanors as events unfold, a total credit to Torres’ acting chops. Dias shines forth quite brilliantly with shared degrees of sass, authority, and at some points sincere emotional brokenness through her role as Victoria, ONE of the family’s matriarchs whose hold over the family’s business (hence their legacy) is tenuous at best even as she believes it IS all hers to control as SHE sees fit.
But, when it becomes clear there is at least ONE other person who DOESN’T subscribe to this notion, it’s only a matter of events and times before it explodes, and whether Victoria can actually agree with much less move ahead with what transpires becomes the question. It’s another steadfast, emotive performance given here by Dias, who, in some manner like Torres’ Matias character, makes you both question and sympathize with Victoria as the story progresses. Martinez is delightfully, hilariously endearing but then so blatantly serious and no-nonsense through her performance as Anselma, the family’s other matriarch who, like Victoria, believes SHE is the one in charge over both the reunion dinner AND the family’s restaurant. Even as she normally aims to be a peacekeeper in situations, the tensions that have apparently festering between her and Victoria start to come out, and whether the two can settle their own differences while trying to deal with other chaos associated with the reunion dinner is another big question mark. I adored Martinez’ performance throughout, the actress marvelously, winningly irresistible yet wholly believable too.
Primary supporting appearances are made by Jeff Meacham as Jason, Ceclia’s somewhat long-suffering but fully devoted, loving husband, Marissa Reyes as Yaretzi, Cecelia and Jason’s mirthfully angsty teen daughter, Albert de Jong as Hanz, a former “friend” of Matias’ (you get the picture) who’s dinner invite is both unexpected in it happening much less in its results, Alex Alpharaoh as Sebastian and Andrea Arguello as Kasey, an uncle and cousin to Yaretzi, the former who has a less than stellar experience at the dinner (though SO funny!) and the latter who’s the cause of it, Xochitl Romero as Ximena, and Brian Palatucci as Trevor, an influencer Matias attempts to tap into. Additional appearances are made by Eric Dean, Mary Godinez, Cleo Handler, Kahlo De Jesus Buffington, Caroline Anna-Kaye Green, Erika Apelgren, Amanda Klein, Rawlin Jefferson, Oscar Maldonado, Daniella Reyes, Tunde Abu, Reece McDaniel, Diana Alimzhan, Angel Padilla, Qiana Moore-Nightengale, Pablo Mota, Leticia Murer de Souza, Miguel Angel Perez, Jennifer Crawley, Sybel Francois, Marcus Jared Turner, Gagan Kumar, Oscar Maldonado, Luka Pascalicchio, Giana Gerardino, Lou Kang, Rachel Keady, Ale Manias, Maya Barbon, Sofia Rojas, Ni Hunley, Alison John, Jessica Sloan-Cooper, and John That. BRAVO, ALL!
So, in total, “A Little Family Drama” provides an uncomplicated cornucopia of comedic vitality, distinctive dramatic impact, and wholly immersive overall significance as applied to the dynamics of personal and greater domestic interactions, the price of secrets, the need for healing and realizing new possibilities, plus the importance of recognizing and embracing the institution that IS family, all while acknowledging that even when the chasm of unrest amongst us SEEMS insurmountable, look to resolve it and gain HOPE as to what the future now holds in the only way that’s best–TOGETHER.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
