Simón

Vicentini's script is extraordinary, very well done, rounded. It is not a predictable story. Martínez's cinematography elevates the script with its beauty and softens the strongest scenes. Very good performances, especially Mcgaffney's, who carries the weight of the entire film.

Special mention for Virguez, who despite his short participation, his character remains embedded in the memory of those who watch the film. "Simón" is very well produced/cared for by González and Rasquín. Sheinfeld's music is beautiful, he understood the script perfectly and takes it to another level.

The direction is incredible, and even more so taking into account that it is Vicentini's debut film (the one directed when he was 27 years old). The editing (also by Vicentini) achieves a perfect meshing of the story, which moves between present and past.

Regarding the subject, "Simón" manages to strike a very sensitive chord not only for Venezuelans, but for anyone who is empathetic with issues as complex as migration and the violation of human rights.

Excellent combination of well-made cinema and relevant subject matter.

"Simón," a film that delves deeply into the harrowing realities faced by Venezuelan asylum-seekers, is not merely a narrative but a profound illustration of the human condition under political strife. Directed by Diego Vicentini, the film transcends typical storytelling by weaving a deeply personal and political tapestry that reflects both his experiences and those of millions of Venezuelans.

The protagonist, Simón, portrayed with stirring authenticity by Christian McGaffney, is a Venezuelan youth entangled in the political turmoil of his country. He is a symbol of resistance and fear, embodying the dualities of courage and vulnerability. Simón's journey from Venezuela to the United States is fraught with emotional and ethical dilemmas, chiefly his agonizing decision over seeking asylum, which would mean safety at the cost of severing ties with his homeland and the cause he cherishes.

Jana Nawartschi, in the role of Melissa, a diligent pre-law student, becomes Simón's confidante and legal aide. Their evolving relationship is depicted with nuanced performances, highlighting the personal dimensions of global crises. This interpersonal dynamic adds layers to the narrative, illustrating the intricate web of human relationships affected by political decisions. The film benefits immensely from Vicentini's direction, where his personal narrative as a Venezuelan expatriate enriches the film's authenticity and emotional depth.

"Simón" is remarkable not only for its narrative but also for its technical prowess. The director employs a blend of archival footage and dramatic reenactments, bridging historical context with personal stories, thus grounding the film in reality while amplifying its emotional impact. The cinematography is notably rich and immersive, using a palette that reflects the intense emotions and stark realities of the protagonist's world. Scenes are crafted with a keen eye for detail, where even the most subtle expressions and mundane environments contribute to the overarching narrative of struggle and resilience.

Moreover, the film introduces experimental storytelling elements that recall the visceral impact of films like "Fight Club." These techniques are not mere aesthetic choices but are purposefully utilized to enhance the narrative's impact, bringing the internal chaos of the protagonist's mind into the visual field, thereby making the personal political and the political personal.

The director's choice to incorporate real footage of protests and unrest in Venezuela serves as a powerful reminder of the film's grounding in real events, lending it a documentary-like authenticity that is both enlightening and harrowing. This approach not only educates the audience about the Venezuelan crisis but also compels them to empathize with the plight of the film's characters and, by extension, all those who have lived through similar experiences.

"Simón" culminates as a poignant exploration of freedom, sacrifice, and the indomitable human spirit. Its portrayal of the complexities of asylum-seeking highlights the nuanced realities behind headlines and political rhetoric, offering a deeply human perspective on the implications of such life-changing decisions. The film's emotional resonance is amplified by its rich visual storytelling and compelling performances, making it a significant cinematic achievement that speaks to a broad audience about the critical themes of our time.

Overall, "Simón" is not just a film but a compelling call to awareness and action-a cinematic piece that resonates with the urgencies of contemporary global issues, making it a vital watch for anyone interested in the intersections of film, politics, and human rights, or the lack of it like in the case ok all dictatorship countries like Venezuela, Cuba and North Korea.

This is the movie on everybody's mouth right now in Venezuela.

It deals with one of the most, if not the most trying, horrifying and heart wrenching moment in Venezuelan history, which were the 2014 and 2017 protests when hundreds of young people (most of them students) were mercilessly killed by the national army.

Well, the movie doesnt depict those moments, it just shows you glimpses of it, as the movie is about a young man who participated in those protests and then moved to Miami, and now he is dealing with PTSD, basically.

Even though I am Venezuelan and I lived through those times, the film didnt really impacted me emotionally for the most part.

I think maybe it was the lack of Venezuela in general, as the majority of the movie takes place in Miami. There's only one shot of Caracas, and then the scenes that take place in Venezuela happen in a run down abandoned horrible place where our protagonist was held captive.

The monologue by Franklin Virguez was definitely the highlight of the film. The lighting in that scene, everything was terrifying. The protagonist's acting was pretty good too.

But in general, I think it lacked contrast, it would have been more effective if they showed some happy times in our protagonist's life in his home country and they should have definitely added his parents to the story since dozens of parents lost a child during those protests, and many of them were constantly on the news.

I also was not sold on the action of the film being the whole situation with the medicine.

I dont know, I think this movie is by Venezuelans for Venezuelans, it really doesnt have that universal thing about it, it feels way too specific, if that makes sense.

And that universal aspect is precisely the amazing thing about movies. You can watch a movie that has absolutely nothing to do with you or your country, that was made in a time when you weren't even born, and that movie can resonate with you in ways you Never imagined.

But as I mentioned in the title, this film will probably only resonate with venezuelans for the most part.

And it is the type of movie people will love simply because of the subject matter, not because the movie itself is actually great.

I lived in Venezuela when the saying was "It's Cheap, Give Me Two!" (as the title says in Spanish). This saying originated in the 80's. Venezuela was democratic and rich. The exchange rate was 4.35 Bolos=$1. Many middle class would travel to the US and buy a lot of stuff because "It's Cheap, Give Me Two!" So sad how Venezuela changed in just a few years after Chavez/Maduro's election in '99.

The movie deserves the current 7.8 rating. The acting is very good and Spanish was spoken with the proper accent (kinda of important for authenticity). Simón is psychologically scared while trying to get asylum in Miami. The ending closes all questions.

Just Amazing! A film that makes you reflect on the current Venezuelan problems but with a universally moldable context. Flawless direction and photography with such a small budget. An exquisite plot twist and performances that invite you to look beyond the typical Hollywood. In addition, the political controversy that surrounds it gives it an extra flavor... I went to see it at the cinema and I only saw the faces of the spectators as they felt it, they cried... and in advance I tell you, no matter how fictional it may seem, this is absolutely nothing compared to what Venezuelans have actually experienced.