The unforgettable final shot of Tatiana Huezo’s last film, the songlike documentary “Tempestad,” is the silhouette of a figure swimming in blue water – an amputee, missing one of …
’s last film, the songlike documentary “Tempestad,” is the silhouette of a figure swimming in blue water – an amputee, missing one of her legs from the knee down. Combining grace and trauma, the image is also striking because of its perspective: She’s floating but, seen from below, from down in the soundless depths just where the water starts to get murky, it looks like she’s flying.
And so Ana leads an almost normal childhood playing secret, giggly games with friends and shrieking at scorpions and snakes, despite living in the shadow of the cartel, whose men occasionally descend on the village to kidnap young girls from their families . Ana has a strong, sometimes strained relationship with her unsmiling, hardened, resourceful mother; an unbreakably close bond with her two besties, Paula and Maria ; and a shy, childish flirtation with Maria’s brother, Margarito.
Most of the time, however, the Mexican drug trade is an impersonal threat that hovers like the helicopters that with minimal warning will spray toxic chemicals onto the poppy crop and onto any unsuspecting passerby who has not taken shelter. Like childhood itself, Huezo’s film, which is loosely adapted from
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