Top-Notch Cast Wasted in Forced Drama on Human Trafficking, Modern-Day Slavery

Last year’s “Sound of Freedom” garnered attention at the box office, resonating with conspiracy theorists, religious groups, and audiences committed to raising awareness about human trafficking. The film inspired viewers to feel that watching it was a morally commendable act against the perpetuation of human trafficking horrors.

Seeking to replicate this impact, Mohit Ramchandani’s new venture, “City of Dreams,” delivers another must-watch narrative. The story centers around Jesús, a non-verbal 15-year-old from Puebla, Mexico. Lured by the promise of attending a soccer camp, Jesús is deceived by a cartel trafficker, played by Francisco Denis, and ends up held against his will in a grim, windowless house in Los Angeles. The house operates as a clandestine clothing factory. Despite the dire circumstances, Jesús clings to his dream of playing soccer in a packed stadium, which unfolds in dream-like sequences on screen.

With the hopes of drawing Latino audiences, the film boasts notable producers, including Oscar-nominated Mexican actress and activist Yalitza Aparicio, Puerto Rican singer Luis Fonsi, and filmmaker Luis Mandoki. Aparicio’s connection to Alfonso Cuarón’s Oscar-winning “Roma” extends to this film, as actor Jorge Antonio Guerrero (who played Fermín in “Roma”) portrays Jesús’ father. Despite the star-studded lineup and the film’s socially conscious intentions, “City of Dreams” falls short in delivering a cohesive narrative.

Ramchandani’s screenplay disappointingly relies on stereotypical characters often seen in Hollywood’s portrayal of Latino communities. The dialogue fluctuates between clichés and absurdity, particularly in the sweatshop setting. It’s puzzling how Jesús and other recent immigrants seemingly understand and converse in fluent English. Even more baffling is the inconsistent use of Spanish, which feels illogical in certain contexts. This lack of cultural nuance detracts significantly from the film.

Chilean actor Alfredo Castro plays the Shakespearian-like villain “El Jefe,” delivering grandiose speeches. Mexican actor Diego Calva, known for “Babylon,” stars as Carlitos, an exploited immigrant on the brink of rebellion. Andrés Delgado portrays Cesar, the tattooed enforcer, albeit with forced Spanglish lines. Despite the cast’s evident talent, the screenplay reduces them to over-the-top performances, squandered in clichéd and caricatured roles.

Jesús, played by Ari López, becomes the emotional anchor of the film. His silent portrayal effectively conveys the distress his character endures. However, the film’s narrative introduces elements that undermine its message. From a religious allegory involving a fellow captive girl aiding Jesús to a tone-deaf depiction of an Indigenous healer, the film wades into problematic territory. The subplot featuring a police officer investigating the criminal syndicate while grappling with accusations of brutality further convolutes the storyline.

Despite the flawed script, the film’s technical aspects are commendable. Cinematographers Alejandro Chávez and Trevor Roach use limited lighting to create a grim, oppressive environment, amplifying the subhuman conditions faced by the victims. An intense chase sequence through a vast warehouse and the alleys of Downtown L.A.’s Garment District showcases innovative camerawork, providing a rare highlight amidst the otherwise lackluster plot.

The film concludes with a direct call to action. Out of character, young López appeals to the audience, criticizing politicians and celebrities for their inaction against such inhumane practices and urging viewers to spread the word about the film. Ramchandani’s primary intent seems to be making an impact rather than crafting a compelling artistic narrative. While the seriousness of human trafficking demands attention, the film’s heavy-handed ideological approach ultimately resembles an expensive public service announcement more than a piece of cinema.

In the end, “City of Dreams” highlights a critical issue but fails to balance the importance of its message with the need for strong storytelling. This imbalance leads to a well-meaning but ultimately flawed film experience.

Source: Multiple