SUJO
Review by Novo Ukiri'
“Thank you for catching him. He’s always running away”
What holds us back from becoming our authentic self? How do we overcome the generations of pain that came before us? And what responsibility do we have to those we leave behind? SUJO, directed by Astrid Rondero and Fernanda Valadez, raises such questions in its remarkable portrayal of masculinity, identity and freedom. The film explores the tension between the person our environments force us to be and the person we truly want to be.
As a four-year old boy, Sujo (Juan Jésus Varela) loses his father, Josue, to cartel violence and is forced to live a secluded life with his aunts and cousins. As he matures, he finds himself increasingly drawn into the cartel, prompting Sujo to contemplate his aspirations, priorities and his fate.
The film opens with a rodeo. The use of sound enhances the emotional intensity, conveying the discomfort of the horses amid cheers from the men in the crowd. One horse, tied to a tree, struggles and escapes into the quiet twilight of the forest. By morning, a man emerges from the fog to retrieve it, but the horse is found by a young boy who is revealed to be Josue. This opening scene introduces the film’s central conflict between freedom and entrapment across generations.
Themes of masculinity and sexuality are addressed with thoughtful subtlety, reflecting the influence both men and women have on Sujo’s development as he battles for his freedom. The film creates one of the most impressive atmospheres this year, blending supernatural elements with naturalistic cinematography and locations. It beautifully incorporates wildlife in both visuals and sounds, with striking focus to emphasise significant perspectives and moments.
As Sujo searches for his own path in life, we witness the growing sense of dread that follows him and draws him back to his seemingly inescapable destiny: his father’s. SUJO promises to be an underrated gem of the festival and one of the standout films in international cinema this year.