Sujo unfolds to be an uncompromising view that tells us about the cyclical oppression emanating from violence. The story begins with a shadowy scene from the past, remembering the words of a rugged horse: He’s always getting away,” said the owner to a child. The scene cut transitions to vision from Josue’s terrifying eyes capturing an excitation that the horse had and a voice over explains the transition in context detailing “Part 1: Josue ‘El Ocho.’”. We move on to Jojo’s sea, a fogged view from his son Sujo’s perspective of the world. While the view remained unclear, we understood that the entwining of the heads showcased Josue and Genaro who together were the cause of the Painful future Sujo was meant to Bolster with Josue as a boy still firmly being embedded in that dream. Josue goes on to kill Genaro, thus putting Sujo in danger as the cartel facilitates millions to kill Josue.
The film comes out as a deeply emotion driven magic fueled narrative that Josue shines in while Astrid Rondero and Fernanda Valadez were Seeking a magician to facilitate the more empathetic side of Mexico.
When Nemesia (Yadira Pérez) sees her nephew Josue’s ghost walking around the thorny bushes near her old house in the mountains, she knows Josue is dead. For the witch, who would rather stay single, the pain of Josue’s death is almost nonexistent. Josue’s sister however, is a target of close concern. A cartel leader is contacted in collaboration with her other aunt, Rosalía (Karla Garrido). Sujo agrees to leave town under the condition he is raised by Nemesia.
With a rural context of Michoacan in mind, “Sujo” has been constructed in 4 parts, each dedicated to a significant person in Sujo’s life and their struggle as one. In one of its parts “Part II: Nemesia”, sujo’s aunts step in and gift him his deceased father’s car, but his life takes a staunch turn when he defeats Josue, his nemesis. The distinct and rough landscape cinematography by DP Ximena Amann hints towards the curse cloaked Michoacan. Dense shadows and distorted forms enhance the suspicion cast over Sujo’s painful existence. Sujo, along with his cousins starts driving his creepy uncle Josue’s decayed car and ends up committing crimes, as depicted in “Part III: Jai & Jeremy”.
While it may not fall under the section of borderline horror films, “Sujo” surely holds real horror in it, a horror that is felt constantly throughout the movie.
Sometimes these ghosts appear in human form, but other times they are just disguised in the memories and souls of these people. For Sujo, his father who holds the reputation of a gang turned local has never actually died. This makes sense why, even after all the measures that Nemesia takes, Sujo ensures to walk the same path that Josue did. In between the rickety houses, the rundown main road of the village and the relaxed pulse of the ordinary, a mentality to become rich or die trying sets in. The only way for Sujo and his cousins to achieve housing that can help them build a name means they will have to serve in the cartel as drug mules.
These understandable desires eventually force Nemesia to take Sujo to the bus station to Mexico City, where he works at night on restaurants and other high end cafes while trying to afford the rent of his room in the only available tenement. In broad daylight, Sujo spends most of his time at the local secondary school pretending to be a student as he dreams about living their lives. A literature teacher Sandra Lorenzano helps him back on track after encouraging the boy to follow his natural instinct.
Yet, the unfolding of Sujo’s past seems to be quite a troublesome issue for him as it seems to test the faith that he has in both his family and his mentor.
“Sujo” has a similar narrative and theme within it in collaboration with Valadez’s “Sujo” that was also co-operated with Rondero. When it comes to humanitarian storytelling, the two films share the same vision. They approach the subject with a wealth of narrative wisdom in motion and emigration. In the movie ‘Безли́кие’, a mother, who lives in Mexico, had to endure. Agelin’s quest for her son turned into a nightmare after she crossed the US border. The film Sujo depicts a feeling of hopelessness that stems from attempting to escape poverty and violence, but it does have a hint of a positive ending.
That touch of fragility and faith that is exposed in Rondero and Valadez’s intricate script is what fueled Varela’s performance as Sujo as well. Valera has more action and focus in this scene, explaining how over time the character has matured, even with such low key attitude. Based on his physical appearance, he resembles a kid who has not yet realized his full potential, but is skilled in the art of survival. A world that is better exists somewhere for him but it is bogged down if no one can see the fire burning in his eyes. His name further supports that he is always evolving.
In a previous scene, nobody has an understanding of what His name signifies in the future this is because it forsakes the idea of having any endpoint instead.
In perhaps the best last scene ever created for a movie for this year a scene that reminds one of the film’s preoccupation with nature vs nurture and a deep understanding that everyone is born with good intent- the directors turn back to the first In the beginning of the film Joshua. In a greater sense, this applies to the touching outworld character analysis that Valadez and Rondero present to contemporary society: to which the young Joshua says to the horse: You are the most beautiful thing that I have seen.
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