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Birds, insects, cows, and a barking dog fill the night air. However, at night, individuals sit with their eyes closed, listening for cars to approach. The sound of automobiles indicates that “they’re” on their way. It’s far too dangerous to even name or describe them. They are simply “they.” Sounds that belong in this remote mountain community and sounds that don’t. The fear of the night is the most unsettling of all the things Tatiana Huezo portrays in her first narrative film, “Prayers for the Stolen.”
Huezo brings her documentary experience to this fictionalized account of Mexico’s all-too-real humanitarian crisis, the continuous struggle between the government and the cartels, massive human rights violations, the drug trade, and international sex trafficking. In many cases, the “police” are either powerless to stop the cartels or collaborate with them. Thousands upon thousands of people have “disappeared,” with women and girls accounting for a sizable proportion. They are kidnapped from their homes, often in broad daylight, and sold into prostitution or murdered. Their bodies are utilized to frighten others into submission. Boys and men are not immune, as they are frequently coerced into working for the cartels or “giving up” female members of their families.
Which Prayers For The Stolen Movie Character Are You?
Huezo, a Mexican-Salvadoran, has created a film that is filled with dread, made even more so by the fact that it is viewed through the eyes of a child, Ana (Ana Cristina Ordóez González, with a wonderfully expressive face), who perceives everything that is going on. Meanwhile, the adults never speak of the occurrences and grimly arrange for the worst-case scenario. Ana’s mother Rita (Mayra Batalla), a careworn worried woman, is shown in the opening picture lowering her daughter into a hole in the ground, a grave-sized dip where Ana can hide if “they” come for her. Ana’s father is “over there,” or in America, and is supposed to send money home, but he never does. He never picks up the phone. Rita, like the majority of the adults in town, works in the surrounding poppy fields. The kids attend school, but it’s hard to retain a teacher there because the situation is just too dangerous. Also, you must try to play this Which Prayers For The Stolen Movie Character Are You quiz.
Despite this, Ana and her two best friends, Maria (Blanca Itzel Pérez) and Paula (Camila Gaal), who are as resilient as children, establish their own universe. They’ve devised a game in which they aim to be completely in sync, all humming the same note and breathing at the same rate. They each other’s pain. The adults around them are too terrified to comfort them. Teachers are departing, and neighboring towns are creating barricades against the cartels while the children strain to hear what the adults are saying. The girls are obliged to cut their long hair very short due to “lice,” according to Rita, but this is, of course, to make them appear like boys, at least until adolescence arrives.
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Ana is central, and we experience this world through her eyes, a world controlled by adults’ tight quiet and sudden bursts of dread when cartel “representatives” barrel into town, spraying guns in the air and whooping like conquerors. A family was abducted in the middle of the night. Nobody knows where it is. Ana looks out the windows of their house, dishes on the table, shoes on the bed. It’s as if they were ripped up and thrown into the sky in the middle of their supper.
The second half of the film, which is not as strong as the first, takes place a few years later, with different actresses playing the trio: Marya Membreo (Ana), Giselle Barrera Sánchez (Maria), and Alejandra Camacho (Alejandra) (Paula). The now-tween-age ladies continue to calm one another with their in-sync game, and they both have a crush on their teacher. Their hair is still chopped close to their heads, and they gaze eagerly at the mini-nail polish bottles in the improvised salon. Being a girl is a risky business. Rita does not hug Ana when she receives her period for the first time. She appears afraid. They both understand what it implies. Huezo has done such an intuitive job of setting up the threats that you dread for the kids whether they go swimming in the river or walk home from school, conversing and laughing.
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