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Click here: Interview with the director of Oklahoma Mon Amour at Chicago Movie Magazine January 2021.   https://www.chicagomoviemagazine.com/post/oklahoma-mon-amour

The film visually narrates ‘the impossible South’ that we carry: closed planes, broken angles,

a black and white that functions as a magnet. The talent lies in the ability to narrate with nomadic images that intersect and create the story of those two brothers who are looking for each other without really being able to engaging into dialogue.

           

            Roberto Brodsky

"Wandering and searching are the central motifs of this film. Not only with Sebastian and Nico, but also with their parents. Wandering and not belonging when facing the world. Sebastian wanders and searches through the entries in his diary, embarks on a trip to Mexico because of the need to unravel the mystery. Nico wanders through his articles, through cities, their heritage, through languages and cultures, while trying to define their spirit and understand his own. Liam wanders through the past, through music… His attempts to find his own footsteps leading to Mexico may stem from a desire to go back to the beginning and change his past, to choose a different path… In an effort to unravel the past, Nico and Sebastian tend to build their identity in the present, in order to give the future a more certain framework."

Andrija Jovanovic

Berlin Revolution Film Festival

Poetic Border Cinema and Oklahoma Mon Amour

Celestino Deleyto

Universidad de Zaragoza

April, 2021

Sebastian in a motel before crossing into Mexico

Oklahoma Mon Amour is a gem of what we might call poetic border cinema. The film is a contemporary and timeless border story in which the narrative and the lines the characters speak work as context for the power of the extraordinary black-and-white images. The film excels at creating border spaces out of places that are geographically distant from the border between Mexico and the U.S. – Oklahoma and Mexico City – and yet are traversed by a powerful borderly imagination. Nico’s and Sebastián’s stories and identities impregnate these distant places with the spirit of the borderlands. As Mike Davis would say, they carry the borders with them wherever they go and wherever they are. But their story is turned into an unforgettable cinematic experience of what it is to be part of the border through the emotional power of the images created by Carolina Rueda.

On the surface, Oklahoma Mon Amour is an unapologetic intellectual film, but what makes it such a joy to watch is its direct line to our hearts and our skins. It transforms the places that it depicts into emotions and sensations. The film imperceptibly grows on the spectator, who, as the story develops, finds herself carried away to a space that is both raw and magical, inviting and unforgiving: the space of the border. But it is a space we do not grasp through our minds, but learn to feel, to desire and fear, through our skin and through our hearts, which is why the border becomes here such a profound experience. Incorporating the thrills and sufferings, the anxieties and pleasures, of everyday border crossings, Rueda’s film takes us beyond ideology and fully persuades us that in today’s world, regardless of who we are and where we live, we are all border crossers, and that the border has become an essential part of our being.

Celestino Deleyto is a Professor of Film and English Literature at the University of Zaragoza. His research includes Film Theory and Contemporary Cinema in the Context of Transnationalism, Border Theory and Cosmopolitanism, specifically “border films” and contemporary cinematic cities, as well as the exploration of space and place in the cinema. He is the author of the books Alejandro González Iñárritu (Co-written with María del Mar Azcona). Urbana, University of Illinois Press (2010) and From Tinseltown to Bordertown: Los Angeles on Film. Wayne State University Press (2016).