Short Film Review “The Mourning Of” A stirring, uniquely original perspective on the anguish of loss, how we grieve, and the need to move on
WATCH THE TRAILER BELOW:
First, the Recap:
Even in spite of the understandable pain that accompanies it, why does it remain so hard to move forward and let go in the face of loss? This may initially sound like a heartless statement, as when we lose something, or more often someone, who was the world to us, there isn’t anything that can replace it. In its wake, we are left questioning, hurting, and experiencing the upending of our state of being that doesn’t become that which we can “just get over it”. But, it doesn’t change the truth that we DO need to find the means to continue in life.
A young woman named Maribel (Natalia Villegas) has such a weight upon her soul with the recent passing of her beloved mother. However, the method by which she is choosing to face it isn’t actually helping her at all. Researching and then somewhat “clandestinely” attending the funeral services of total strangers, the pattern of this occurring has not gone unnoticed by the local church’s priest, Father Tomas (Julio Cesar Cedillo). Can this behavior be halted before too much damage is done?
Next, my Mind:
The ability to present stories that may contain topics which get addressed a multitude of times over, whether through the medium of film or TV, could be seen as a certain form of risk by those creating the end product we as viewers see. This is further true in context of an ever-present need for content to be able to do this, yet showcase a newness in approach. Let’s face it, it’s quite difficult to accomplish. Yet, when delving into the emotionally harrowing arena of loss, grief, coping, and the concept of having to let go, we get to witness the aforementioned realms of originality and inspired artistry through this indie short film from writer/director/producer Merced Elizondo, producers Alan C. Hodge, Helena Sardinha, and Rafael Thomaseto, co-producer Alfredo Achar, plus executive producers Liz Cardenas and Andrea Marquez. Dynamically forceful and uncompromising in its intent and tone, the film is quite simply both disquieting and emotively profound.
Taking an unconventional path in telling its primary character’s heartbreaking but necessary road to personal release and internal freedom, the narrative follows a young woman in a state of deep bereavement choosing to attend the funeral services of complete strangers in order to believe she’s assuaging her own lament…though clearly not succeeding…while ultimately seeking out the one person who finally drives that truth home. The mere notion of someone being so buried in sadness and reeling from the loss of someone close in itself is nothing new to be explored. But it is this utterly distinctive manner in which it gets expanded on here that infuses this film’s narrative course with such a bluntly compelling atmosphere illustrating the crippling effect of this degree of inner misery and the, honestly, unhealthy means by which its being “dealt with” that really makes you feel both overtly empathetic in the desperation depicted yet also somewhat angry as well.
To latch onto others’ sorrow in order to supposedly alleviate your own is a manipulation that may not seem apparent to those on the receiving end, but is very evident and present to us as the viewer….and SHOULD be to the person initiating it. It turns these unsuspecting mourners into victims of someone else’s attempts to avoid going through what they are confronting instead of pursuing what they actually NEED to, which is to acknowledge, walk through not around, and truly comprehend the lasting impact loss will have on their lives…but AS they go FORWARD. What I appreciate about the film’s portrayal of all this is that it is not remotely invalidating what Maribel is experiencing within herself nor the admittedly resolvable trouble she’s having reconciling it. However, for this critic, the genius and equally gratifying facet of it is when someone is willing to BOLDY tell her WHY what she’s doing has got to STOP before everyone involved would get hurt even more.
Additionally, the film’s finale, and I am stating in this case the literal final moment, is so affectingly touching and cathartic for both Maribel AND us, a beautiful instance of individual ascension above it all and the associated comfort it brings. From what up until that scene was a quietly but undeniably unnerving exhibition of one person’s rationalization and evasion of forging ahead, she only needed an authoritative reminder to be unfettered from the WEIGHT of what she was burdened with while still allowing for the realization that the feelings will linger, but so will cherished memories and the reality of life continuing. The sheer volatility in mood here is so well executed, and this is totally due to the brilliant writing and direction this film manifested through, once again a total substantiation of independent film’s core attributes of relatability, grounded narratives, and unflinching, provocative, adept excursions through the human condition.
Villegas epitomizes a heartbreaking picture of decidedly built-up, inward-focused, all-consuming heaviness of heart, mind, sprit, and soul that comes to a point of finally boiling over when directly challenged about it through her role here as Maribel, a woman in pain who only wishes to find a resolution to it that will grant her personal liberation from the loss she’s suffered. Thinking that immersing herself within other people’s sadness is the answer, Maribel’s consistent appearances at the funeral services of strangers gains the attention of the local church’s priest who realizes her actions must be stopped for her own good, as well as the good of those she’s actually taking advantage of rather than accepting her own despondency. What is so impressive about Villegas’ performance is the controlled manner in which she guides Maribel’s character through the magnitude of inward affliction, anger, brokenness, acceptance, and exoneration she encounters.
It’s wholly believable, just wrenching in the intensity the circumstances elicit, and, at last at first, certain levels of enmity towards Maribel’s choices, but then unequivocal sympathy by the finale. The other primary role here is given by consummate character actor Cedillo, who so deftly paints a portrait of a man who’s witnessing another person being devastated by their grief but not handling it the way they should through his role as Father Tomas, the priest at the local church who often conducts the services he’s now seen Maribel at one too many times. Choosing to finally have a straightforward, candid conversation about her decisions with her, will it be enough to jar Maribel back to the realities of what it IS to embrace her grief, live with it, and still conclusively move on with her life? Cedillo just delivers an uncomplicated yet elegantly nuanced performance that draws you in with its steadfast energy, credibility, and resonance befitting the story’s events.
As is the case many a time, the supporting roles and/or appearances are PLENTY in this effort, with turns from Kass Maren, Nina Leon, Maggie Pomales, Consuelo Hartman, Margaret Sanchez, Christian Arrubla, Darius R. Booker, Omar Padilla, Glory Rodriguez, Abdeel Kardoso, Cora Cardona, Barbara Laurean, Anna Antonia, Kevin Williams, Abby Pauly, Chris Chatmon, Kinsley Burton, Ardis Stembridge, Kerrie Eyman, Cory Eades, Littledog Murillo Laffiama, Katherine Lopez, Irma Avila-Davila, Robby Mitz, Martin Amador, Lexi René, Melissa Sellers-Durham, Irma Ortiz, Daphanie Brown, Colette Bliobenes, Veronica Trevino, Raquel Mahony, Alexander Flores, Hancl Carr, Edgar Vazquez, Wes Gillum, Amy Murillo, and Jennifer M Wachel among a HOST of others. As I usually try to do, I will just extend a “Bravo!” to ALL who were a part of the supporting cast in any form here, as for me, EVERYONE is important, including the multitude I was not able to list here.
So, in total, “The Mourning Of” astutely conveys a definitively exceptional, emotively potent, realistically forthright, and categorically essential anatomy of grief and its deeply-rooted encumbrance on us when loss has occurred, while frankly presenting how we should not choose to try and go around, but more willingly push through it, so that we might discover the wonder of others finally telling US “I’m so sorry for your loss”, to then receive that genuinely longed for internal emancipation.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
