“Mountains” (2023 production, 2024 release). Cast: Atibon Nazaire, Sheila Anozier, Chris Renois, Serafin Falcon, Roscoè B. Thické III, Yaniel Castillo, Macc Plaise, Farley Louis, Bachir Sylvain, Kerline Alce, Karina Bonnefil, Sydney Presendieu, Starr Leavitt, Henri Claude Douze (voice), Georges Moumous Vilson (voice). Director: Monica Sorelle. Screenplay: Robert Colom and Monica Sorelle. Web site. Trailer.

Change often carries a cost. At the same time, though, it’s also frequently accompanied by unexpected rewards. In either case, however, we may not recognize what’s coming, what it might entail and how it could affect us. What’s more, a lack of awareness of what’s unfolding can place us in a seriously compromised position, leaving us unable to determine how to respond. So what are we to do then? That’s the dilemma posed to a working class family (especially its primary breadwinner) in the engaging new drama, “Mountains.”

When an established community (and its associated culture) begins to disappear, its constituents (particularly those who come from an immigrant background) start to experience a palpable sense of passing into oblivion. At the same time, however, some of the residents of those neighborhoods are faced with the dilemma of having to ask themselves, “Am I part of the loss or part of its cause? And, in either case, how do I deal with the outcome and my role in it?” Those are perplexing questions, to be sure, and answers are often elusive, making it difficult for those caught in the crossfire to determine a course of action.

Such is the case for Xavier (Atibon Nazaire), a structural demolition worker who resides in Miami’s Little Haiti neighborhood with his wife, Esperance (Sheila Anozier), a crossing guard and dressmaker, and his adult son, Xavier Jr. (Chris Renois), an aspiring stand-up comedian who works a day job that he almost never discusses. Xavier relishes the good money he’s making from his work, a position that provides him with many opportunities for pulling down bundles of cash. He’s contemplating using those funds to purchase a small but nicely renovated house that’s recently gone on the market, one that’s not particularly elaborate but that definitely represents a step up from his current residence. In many ways, it’s an embodiment of the American Dream, something that many first-generation immigrants – like Xavier and Esperance – aim for.

But will the couple get a shot at fulfilling their ambition? The reason why Xavier is getting so many opportunities for work is that Little Haiti is rapidly and aggressively becoming gentrified. Nearly every home that’s put up for sale is subsequently being bought up and hastily torn down to make room for new upscale development. Ironically, though, Xavier has trouble seeing past his paycheck. He either can’t or won’t acknowledge the impact that this trend (and, consequently, his job) is having on the nature and continuity of the community. It’s almost as if he’s blind or indifferent, even with the appearance of the changes all around him, such as those raised in local radio reports and conversations with immediate and extended relatives at a family party. Discussions of these emerging changes come out in detail, but Xavier conveniently looks the other way – that is, until the impact of these developments begins hitting closer to home, giving him a lot to think about, both in terms of what may be happening and what, if any, role he may be playing in it.

His growing awareness of the shifting character of his community, in turn, prompts him to assess other aspects of his life. Did he make the right decision coming to America? Once here, did he pursue his hopes and dreams, or did he just stick to doing what he needed to get by? Does he now regret the choices he made, especially when he sees Junior making a concerted effort to follow a different path than he did? But what if his son fails at what he’s doing – will he befall a fate not unlike his dad?

In addition, these changing circumstances prompt Xavier to contemplate the future of his community. What will they mean for his family, friends and fellow countrymen? Will the distinctive and vibrant culture of Little Haiti become lost to time? And will the long-held prejudices inflicted on those of Haitian descent endure, saddling those of future generations with some of the same indignities that their forbears suffered?

The biggest concern for Xavier in all of these areas is, what, if anything, can he do about it? Can he make a difference? Or will he, too, be swept away in the flood of change? These probably aren’t the kinds of questions that he thought he’d be asking himself when he left Haiti and at this point in his life. Indeed, as he approaches the second half of his life, what is he to make of it? And what will it be like for him, Esperance and Junior going forward?

In devising responses to circumstances like these, it’s crucial to examine one’s beliefs, for they determine how matters will ultimately play out, thanks to the conscious creation process, the philosophy that maintains these resources are responsible for such outcomes. However, that may be challenging in a scenario like this, especially if one is unclear about what those beliefs actually are to begin with. If someone, like Xavier, is uncertain whether he is a victim of, or a part of the cause of, such a situation, it’s difficult to decide what to do, as these results are each governed by a different set of underlying beliefs. What’s more, determining one’s beliefs can be particularly problematic for those who are fundamentally unaware of this way of thinking: How can one respond to a particular set of circumstances if one is unfamiliar with how it arose in the first place? That can be more than just a little puzzling, to say the least.

Even with a vague sense of what might be transpiring in a situation like this, it can still go unresolved if conflicting beliefs are involved. If someone believes that he or she could be both a victim and an instigator of such circumstances, the result could be a stalemate, one in which an overarching feeling of paralysis is in place. Indeed, how could one move forward toward resolution with an inherent contradiction such as this holding sway?

For much of Xavier’s story, these conditions are firmly entrenched. He occasionally experiences some vague passing moments of awareness that something is going on, but certainty about its nature is far from in place. So how can he reconcile these circumstances for himself?

Clearly, Xavier needs evidence of what’s truly afoot, and this starts to become apparent through the synchronicities he draws to him, the seemingly tailor-made “coincidences” that miraculously appear in his world and offer insights into what’s occurring. These “signs” serve as guideposts to give him hints as to what’s transpiring and the direction in which his unfolding existence is heading. They’re meant to help shed light on what’s happening, to capture his attention so that he can get a more definitive picture of the emerging nature of his reality. And, one would hope, those clues can also help to illuminate the nature of his beliefs, as well as how to define and react to them and their resulting physical manifestations. That’s particularly true where, as here, conflicted notions are in play; such enhanced, enlightened lucidity can help him to decide what’s most important to him, spotlighting what deserves greater attention in reconciling his internal conflict and thereby guiding the external outcomes arising from that inner resolution.

The aforementioned synchronicities take a variety of forms, too: conversations and media reports related to community changes, a growing preponderance of for sale signs on neighborhood properties, and unsolicited telephone calls from strangers asking about whether Xavier’s current home is up for sale, among others. Individually, these developments may not seem especially significant in and of themselves, but, when considered collectively, they begin to form a pattern, one in which all of these seemingly unrelated occurrences show a connection to one another – and, in this case, one indicative of the fundamental changes taking place in the neighborhood.

With his newfound awareness in place, Xavier can draw upon it in assessing his beliefs to resolve the internal contradiction he’s wrestling with. And practice at that skill, in turn, can help him address the other unresolved beliefs he harbors about his life, such as his discontent related to the life choices he’s made, the regrets he holds and his underdeveloped plans for his future, considerations that all weigh heavily upon him – almost as much as those related to his concerns about the changes occurring in Little Haiti.

In many ways, the emergence of his awareness of these issues raises more questions about the nature of his beliefs – and more considerations to resolve. However, given the experience he gains with this process in the foregoing areas, he becomes more adept at applying it in connection with these other issues. For example, he knows when to reach out for guidance when needed, as he does in many of his conversations with Esperance. That’s quite helpful, considering that she seems to possess a certain innate wisdom when it comes to addressing these types of situations. For instance, when Xavier expresses doubts about how effectively he has been able to provide for the well-being of his family (particularly where housing is concerned), Esperance observes that “home is where the heart is.” To some, that might sound like a simplistic greeting card sentiment, but, for Xavier, it resonates deeply, making all of the other more “logistical” concerns that he worries about seem rather superfluous and irrelevant by comparison. And that realization, in turn, provides the comfort and clarity he needs to get a better handle on his core beliefs – and how they affect the world he creates for himself and his family.

The foregoing concepts may sound like basic common sense to some, and that view definitely has merit. However, it may be easy for these notions to go unnoticed, almost as if akin to not being able to see the forest for the trees. And that can carry significant consequences, particularly in situations where important impending changes are involved. If we’re unable to determine where we stand in relation to such scenarios, we may not be able to effectively react through our beliefs until it’s too late. Or we could easily become oppressively overwhelmed by what transpires, unable to determine our way out of such potentially daunting developments. Given that possible impact, then, it’s crucial that we develop an awareness of what we believe and how it may be contributing to the unfolding of an emerging, potentially significant scenario before the changes become too much for us to handle.

There are undoubtedly many communities and constituencies out there that can relate to the narrative portrayed in “Mountains.” Writer-director Monica Sorelle’s debut feature quietly yet powerfully tells a story typical of many urban ethnic neighborhoods and the effects such transformations have on the local culture, depicted here through a vibrant panorama of sights, sounds, music and colors, as well as the emotions of those who live in these areas, and what those individuals stand to lose as a result of these changes. Their expressions of hope, joy, disappointment and regret are poignantly displayed through simple gestures, revealing facial expressions and telling body language, often speaking volumes without saying a word. While the picture can at times feel a little too “slice of life” for its own good (and leaving viewers wondering where the story may be headed), it ultimately conveys its messages through its fine acting ensemble (particularly Nazaire’s breakthrough performance), gorgeous cinematography and skillful film editing. As the nominee of two Independent Spirit Awards (including a win for the director in the competition’s “Someone To Watch” Award category), as well as numerous film festival award victories and nominations, this offering is an impressive start for a filmmaker who clearly has much to say and a knack for knowing how to effectively say it, especially when it comes to speaking for those who may not have a readily accessible voice of their own. The film is currently playing theatrically.

It’s been said that the only certainty in life is change (death and taxes notwithstanding). Some of us welcome it, but many are intimidated by it, even going so far as to reject it out of hand. But, no matter how readily we embrace or dismiss it, one thing is for certain: its inevitability. Given that, then, it’s something that we should at least attempt to prepare for, particularly our response to it, as that will often determine how comfortable and adjusted we are when it finally arrives. This is a process that begins with us, for our beliefs will determine our reactions and, ultimately, how those responses mesh with the new conditions that emerge. Our input may even have a meaningful impact on how that change manifests (one would hope to our advantage). However, if we stand on the sidelines and make no effort to shepherd these circumstances into place, we could easily be swept away with the tide. As the Haitians are known to say, what’s behind the mountains before us are more mountains. And they’re likely to be there no matter what we do, but the route we choose to take in traversing them is up to us. May we select a path that suits us, one that gets us to the peaks with the least resistance and the best outcomes obtainable.

Copyright © 2024, by Brent Marchant. All rights reserved.