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| http://www.imdb.com/title/tt1511489/CITAZIONE Directed by
Omar Rodriguez-Lopez
Writing credits
(in alphabetical order)
Omar Rodriguez-Lopez written by
Cast (in credits order)
Tatiana Velasquez ... Natalia
Nomar Rizo ... Oscar
Kim Stodel ... Zack
Rikardo Rodriguez Lopez ... Riko
Angel Marcelo Rodriguez Chevrez ... Father
Marcel Rodriguez Lopez ... Tap Prostitute 1
Becky Vigil ... Mesa Inn Prostitute
Astrid Magallon ... Angel
Daniel De La Mar ... Card Player 1
Chris Salcedo ... Card Player 2
Valentin Merz ... Tap Prostitute 2
Sonny Kay ... Police Officer 1
Bud William Allen ... Repairman
Ramon Villa ... Pimp
Amalia Castro ... Street Prostitute 1
Annie Aguilar ... Street Prostitute 2
Ericka Hanlon ... Street Prostitute 3
Michael Morlan ... Man In Truck
Kristoffer May ... Police Officer 2
Lars Stalfors ... Night Man on Street
Adam Thomson ... Chat Buddy
Sara Christina Gross ... Girl at Party
Frances Rodriguez Lopez ... Mother
Ralph Jasso ... House Friend 1
Eric Salas ... House Friend 2
Mario Matus ... Grocer 1
Thomas Aragon ... Grocer 2
Luis Alfredo Flores ... Ditcher 1
Carlos Alfonso Corral ... Ditcher 2
Mitchell Edward Kilk ... (voice)
Produced by
Omar Rodriguez-Lopez .... producer
Original Music by
Omar Rodriguez-Lopez
Cinematography by
Michael Rizzi
Film Editing by
Adam Thomson
Production Design by
Sara Christina Gross
Sonny Kay
Omar Rodriguez-Lopez
Makeup Department
Eric Salas .... makeup artist
Art Department
Bud William Allen .... carpenter
Sound Department
Isaiah Abolin .... sound
Chris Mastick .... sound
Joe Montanez .... sound
Lars Stalfors .... sound mixer
Kara Sullivan .... sound
Shawn Michael Sullivan .... sound
Visual Effects by
Jason Forman .... digital compositor
Camera and Electrical Department
Kristoffer May .... additional camera operator
Kristoffer May .... gaffer
Michael Morlan .... additional camera operator
Michael Morlan .... key grip
Laura Vella .... assistant camera
Costume and Wardrobe Department
Sara Christina Gross .... wardrobe
Editorial Department
Carlos Bolado .... editing advisor da notare, nel ruolo della madre, Frances Rodriguez-Lopez... CITAZIONE The Sentimental Engine Slayer is a compelling story about finding one's essence in a world of stereotypes and predetermined behaviors. The film explores the bitterness of life through Barlam, a sexually troubled young man in search of his own identity. CITAZIONE Barlam and Natalia are siblings separated by what would seem to be only a few years. The family home, in a sprawling, yucca-studded 1950s-style subdivision on the far end of El Paso, is cluttered with Catholic ephemera and serves as the de facto crash pad for a host of chain-smoking, Guitar Hero-addicted deadbeats. Chief among them is Natalias bedwetting other half, Zack, a slovenly gringo all too happy to take advantage of the lackadaisical lifestyle afforded by the girls mysterious addiction and rent-free accommodations. Despite what seems to be something of a preoccupation with their parents apparent divorce (at least on the part of Barlam), their mother is curiously absent. Barlam, when not on the receiving end of abuse at the hands of his grocery co-workers, spends his time cycling around the city, paying visits to his therapist father (Angel Marcelo Rodriguez Chevrez) to quiz him on details of the ancient divorce (not to mention taking advantage of some presumably off-the-clock advice), and obsessively stock-piling multiples of the only model car for which he has any penchant: the 67 Mercury Cougar which had been the family car during happier times. He soon discovers a look-alike teenager and, convinced that the boy (Rikardo Rodriguez Lopez) must be the product of some unknown indiscretion on his mothers part, coerces his sister into virtually abducting the youngster in order to glean the key to the apparent mystery. As the chaos of his life accelerates, Barlam is pressured into a liaison with an indifferent prostitute (Becky Vigil), the disastrous results of which may or may not spell doom for the deluded pushover. Subsequently, he embarks on a disorienting series of ill-advised trysts, descending into a shadowy murk of unprovoked violence, transgendered experimentation and mirage-like anomaly.
Much of The Sentimental Engine Slayer straddles the line between fantasy and reality, as much a puzzle for the viewer to decipher as it seems to be for Barlam. Indeed, his life appears to be a contradictory muddle of fledgling awkwardness and cocksure bar talk; of naïve vulnerability and knee-jerk aggression. When at long last he seems to have found his footing with regards to the intimate relationships he craves, he haphazardly sabotages himself in a literal bloodbath of unresolved hostility, uncorking a lifetime of pent-up rage both shocking and perplexing. It is only as this moment that Barlams mother finally appears, ostensibly a figment of his imagination, yet doubtless the matriarch of the household whether in her natural state, or that of the mysterious circuitry at the core of the homes electronic brain to which she lends her name. Climaxing with Barlams moonlight mission to dispose of the fruits of his evident psychosis, the film presents a paradoxical twist perhaps only understood with repeated viewing.
Beautifully photographed amidst the sleepy yesteryear pastiche of this most archetypal of border towns, The Sentimental Engine Slayer is an homage to El Paso and its microcosmic hybrid of Latino and American culture, an inadvertent time capsule of a city literally straddling the first and third worlds, the nineteenth and twenty-first centuries; a city as contradictory and befuddling as the films prime antagonist. At once both urban and rural, docile and convulsive, the citys personality comes to the fore in The Sentimental Engine Slayer, whereas prior films have made-do simply with caricature.
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