Citlalli's Prayer (2002) Online

'Citlalli's Prayer,' an eleven-minute Short from Diana Kongkasem's 2002 New York University Film Program, is the story of a young girl who is bullied at her new school and looks to her faith as her safe-haven. It is a simple story but that's part of its strength. Easily enchanting but -- as a fairy tale, a parable -- I'll also call it magical indeed because -- while the audience is left impressed by the artistry (crucial to all entertainment, even magic) -- Kongkasem wisely leaves us wondering what has happened. More significantly, she lets us decide what it means.

It may seem trite to say the story is told from Citlalli's point of view, but that's not quite accurate. Instead, it feels as if Kongkasem has made us Citlalli's invisible friend and we're going through Citlalli's life directly beside her. To wit, when we see her Mother, we never quite see her face, as if we never raise our child's head that far (alas, I wish this was the same for The School Teacher). Whenever we interact with the world, being right next to our child heroine, it's always from that level. When we do experience another, the change is pointedly personified by … well, faith.

Shot on 16MM in 1.33 (that wonderful square of old) by Cinematographer Rachel Morrison ('Fruitvale Station,' 'Cake,' 'Dope') in a beautifully tinged palette, we find ourselves immersed in Citlalli's world. We could easily turn off the Color and find ourselves immersed in Jean-Pierre Jeunet shot by Gabriel Figueroa. And that feels deliberate; not decreed by monetary restrictions. Kongkasem doesn't take our hand and lead us into her film but instead drops us -- full deep end -- into her painting. Set-in and shot-in Los Angeles' Koreatown, there are no postcard pics of The City Of Angels; no Hollywood sign or Beach or even Downtown … and that's a good thing. This is a story that belongs in Citlalli's bubble. Not at all claustrophobic but -- whether inside or out -- there's little room to breathe … again a good thing. We feel Citlalli's yearning to break free right along with her.

And that painting? When the palette is truly vibrant, it's with the splashes of how Citlalli sees the world; all its beauty in what SHE finds beautiful: the Papel Picado hanging like stars in her bedroom, the painting of The Virgin of Guadalupe on the street wall as she walks to school, the flowers in her school's courtyard. Even when the bullies are bullying -- a heartbreaking beat in any context (and Kongkasem applaudingly sidesteps cliché) -- we're not stricken for our hero because we know she's better than they are. (Admittedly, "better" is a tough word. Not just at her Arts & Crafts but smarter, wiser; wholly purer.) All wonderful brushstrokes against the canvas. In fact, so sure are the brushstrokes that 'Citlali's Prayer' could be a Silent -- again a good thing -- the nuance of story well balanced by Kongkasem's hand and in the face of our child hero, portrayed by newcomer Emily Suzuki.

Kongkasem's mother is Mexican, by whom she's wonderfully influenced, so it's no surprise this thesis should showcase that heritage. But what's interesting about today's story is instead of using Mexicans as characters -- and I don't mean caricatures -- or religion as pepper to make the plot something "more" -- any of the clichés for which it's too often used -- Kongkasem simply tells her story in that world. In fact, it isn't "showcased" at all but portrayed as everyday reality; likely because that's simply who Kongkasem was at that age. It's not difficult to infer Citlalli is a young Kongkasem in the same way Richard Dreyfuss was Steven Spielberg in 'Close Encounters Of The Third Kind' (that film of theirs specifically because of the intangible wonders they too face). Kongkasem uses a very real scenario, untampered by a single drop of "type," to showcase what's really important here: the fantasy; the parable.

And the faith.

Brenda Canela (whose resume ranges from 'Little Miss Sunshine' to 'Call Of Duty: Ghosts') portrays the embodiment of The Virgin of Guadalupe but, really, She is in every scene. And The Patroness' presence is felt just as much in today's "battles:" an urban school permeated by bullies. Just as much as The Virgin of Guadalupe lifted Her people above the rubble of a newborn Mexico, so does She lift Citlalli above the mediocrity imprisoning her. And, again, none of this is in caricature. Or by type. Or told melodramatically. Rather, culture and religion are, here, as part of everyday life as oxygen.

And that makes it even more breathtaking.

I wonder if another great Mexican filmmaker saw today's film and was as impressed. His 'Pan's Labyrinth' -- made six years after 'Citlali's Prayer' -- is also an enchanting fairy tale about a young lady yearning to break free from her world. And Kongkasem certainly foreshadows Guillermo Del Toro's masterpiece in its magical quality -- its take on magic -- including our introduction by a haunting lullaby. Both raise the question, "Is the fantasy real?" While Kongkasem's Citlalli escapes into the arms of The Virgin of Guadalupe, we then see her walk back into the school; and while Del Toro's Ofelia lays bleeding, we then see her find her parents. Do both child heroes find enough peace in the fantasy to accept reality? Is that the magic?

And is that enough?

It's too often quipped, "Great art should make us think." I don't believe that. But it should make us FEEL. It doesn't always happen (or to each their own), so when it does with something as simple as an eleven-minute Short Film from fourteen years ago, yes, I'm enchanted. So, in that, Citlalli's prayer has whole-heartedly been answered.

For the full review, please visit –

http://hollandimaginarium.blogspot.com/2016/08/citlallis-prayer.html

I have reviewed hundreds or perhaps thousands of shorts and I usually hate to say negative things about more recent shorts--mostly because shorts these days are quite different in purpose from the ones of the old days. That's because in recent years these films have been mostly independent projects that up and coming film makers produce on their own in order to get the attention of the big money financial backers. So, a bunch of bad reviews could hurt an up and coming film makers--something I definitely don't want to do.

Well, this film is not bad and the film makers could easily have a good future in the industry. However, the story itself just didn't pay off and left me feeling very cold--despite good acting, cinematography and directions. The little actress who played 'Citlalli' was adorable and convincing and I had no problems with the performances. But the story, despite a good setup, just didn't score at the end--leaving me rather dumb-founded and disappointed.