Whether out of genuine appreciation or common courtesy, the typical reaction at the conclusion of a film festival screening is applause. What made the screening of Amat Escalante’s Heli stand out was the complete absence of an audience response–no timid clapping, no lively discussion, and not even any dissenting boos or hisses; just deafening silence. And yet, any response other than shock for this graphic tale would no doubt be inappropriate.
Escalante, who took home the Best Director award at the 2013 Cannes Film Festival, disregards clarity in favor of calamity when depicting the horrors of the Mexican drug trade. While motives are muddled and conflicts are left unresolved the film paints the stark realities that face those who stumble into the path of organized crime, whether intentionally or not.
The titular protagonist (portrayed by Armando Espitia) is a young man who works the night shift at a nearby auto factory, dredging through the long, late hours to provide for his sister Estela (Andrea Vergara), his wife Sabrina (Linda González), his father, and his newborn son. While they struggle to make ends meet they still manage to find contentment in their small desert home.
While Heli toils away at work Estela revels in the throes of adolescent love, falling for brutish yet soft-centered teenager Beto (Juan Eduardo Palacios), a cadet in the national police force. While continuously trying to win over her affection through tokens of puppies and ice cream Beto eventually proposes that they run away to get married, to which Estela enthusiastically agrees. As an engagement favor she holds on to a stash of stolen drugs for him until he can sell it off. Heli eventually uncovers the plot, and fearing for his sister’s safety disposes of the contraband. However, the state police have uncovered the plot, too, and their method of punishment isn’t so light. After subjecting Heli to drastic torture and abuse they kidnap his sister, leaving him for dead with no leads and no blood left in his face. Torn between his patriarchal duties and Estela’s well-being, Heli falls victim to a rage-induced depression that seeks to tear apart the remaining elements of his already distraught life.
It’s no clue as to why Heli has won so much acclaim for its direction as it propels its well-tread story to a place of beautiful bleakness. Escalante, who also co-wrote the script with Gabriel Reyes, harnesses considerable off-screen talent: he injects a masterful sense of poise into his direction, turning the bare and bland script into a gripping tragedy. His choice of both cinematographer Lorenzo Hagerman’s steady camerawork and editor Natalia López’s timely cuts was a wise investment, as they frame the thematic chaos through technical calmness to further excel the film’s dramatic impact. Escalante pushes his actors to their limits through his choice of long takes and physical altercations, forcing out every nuance in their beings to accentuate their otherwise lifeless characters.
Escalante’s choice of subtle ambiguity makes up for the story’s shortcomings, as well. Does Beto’s possession of the cocaine mean that he has aspirations to be a part of the illegal drug trade? Are the state police complicit with the drug trade, or do they just reach out to them when violent retribution is needed? Are Heli’s torturers even criminals, or are they just hired muscle? None of this is clear, and it doesn’t need to be: the film showcases a system of brutality that for many has become a way of life. It eliminates any possible opposition, valuing product over people and completely inadvertent to identity. It’s a non-Eurocentric portrayal of the Mexican drug trade that disregards ethnic-based judgments in favor of a humanity-laced approach, and in that respect it’s a brilliant dramatic work.
A textbook argument for the importance of direction, Heli is a trying film that should reward its attentive viewers with something other than shock. But for the faint of heart, one would consider seeking out more diluted fare.
Rating: 7/10