Mathieu Demy has lived his life in the film industry. Between his father Jacques, his mother Agnès Varda, and his own history of acting or otherwise appear in features since he was a child, Demy is no stranger to the medium. Directing isn't the same as acting though, no matter how much exposure one has had to the art form, and that this marks the man's first full-length endeavor in that capacity arguably does come across in some measure. I hardly mean to altogether impugn his skills, for I think this is a fair effort, and while the strength is variable it's unquestionably there. 'Americano' is a picture split almost perfectly in two, however. Its best value is in the portrait of Martin's grief, and the ordeal of taking apart the pieces of a life that's no more, and rediscovering memories or finding out who that person really was. This is something that almost all of us have dealt with at some point, or know that we will, and the hollowed out tone of the first half in particular, and Demy's like comportment as an actor, makes this facet of the movie very real. That feeling extends into the second half to some degree as Martin starts to rather fall apart in seeking out Lola, and trying to learn more about her, and his mother. On the other hand, the more that the title tries to introduce a sense of narrative - Martin's trip to Mexico, the progression of his difficulties, Lola's background and personal history - the weaker and flimsier it all feels, and less convincing. I don't think 'Americano' is bad, but there's one particular thing that it does very well, and when it steps away from that strength, it just doesn't hold up as well.
I'm not sure if it's the writing or the direction that's more meager and unfocused in the second half, or maybe both are equally at fault. Be that as it may, I still think this is ever so slightly better than not. Though imperfect, Demy shows fine promise in orchestrating scenes; in broad terms the story is compelling, and the characters - Martin above all - are complicated and worth exploring. The scene writing is solid, even when the plot struggles, and there are some moments here that are especially sharp, whether in writing, direction, or in Georges Lechaptois's cinematography. The cast give swell performances all around, with Demy again standing out in his downcast portrayal of the protagonist; Salma Hayek is only a bit player by comparison, but she, too, has a couple moments to shine. All those behind the scenes turned in fine work, including costume design, hair and makeup, production design, and effects; I like the music. This is well made in most regards, really, making it all the more unfortunate that the substance 'Americano' has to offer is distinctly uneven. With some reworking I think the end result could have worked much better than it does. Still, I admire the effort, and I look forward to seeing what Demy might do in the future. This may not be wholly stellar, but it's a decent start for what will hopefully be another fruitful avenue for someone who has had such a long history in cinema, both personally and professionally.
