A young girl makes an unexpected friend, and while the two have no idea what the other one is saying, they hit it off immediately. Hungry, with nowhere in particular to go, the two girls wander around the vast and dangerous Sonoran desert. What finally solidifies their bond is a simple, delicious meal. Burros is the story of friendship in unexpected places, in the most difficult of times.
I instantly got vibes similar to Sean Baker’s The Florida Project. At the heart of Burros there are two children running free through a place that they probably shouldn’t have access to, doing some questionable things. They get themselves into trouble, they have fun, and they do all that they can to forget about the hardships that they face each and every day. However, what Writer-Director Jefferson Stein does better in this regard is more effectively restrain the two girls. Rather than have them go too far at any point, to a place where viewers question their morals, Stein paints them in a way in which viewers are always on their side. Obviously the approach is different for a reason–and at the root of Burros we have a story of innocence. That innocence transcends the entirety of the film, and it allows viewers to fall in love with the characters.
Beyond that innocence, however, is a level of pain and suffering that also exists throughout the entirety of Burros. Seeing these children struggle is heartbreaking, and there are often times when it’s difficult to watch. They have their moments of pure joy and happiness, but the times in which they struggle may be challenging for some to stomach. While that may be the case, the juxtapositional tones play off of one another incredibly well, delivering something wonderfully entertaining. Viewers get the best of both worlds in terms of tone. They get the heartwarming goodness of innocence, and they get the heartbreak of these young girls’ struggles. This aspect of the film is constructed wonderfully, and it is ultimately the best part of Burros.
There is often a stillness present in some of the scenes. As the girls wander through the desert there are times when the camera never moves as they leave the shot–and it’s for good reason. As one piece of the puzzle moves on to something else, the next arrives immediately after to the same exact place–and much like the competing tones, the physical presence of some of the tertiary characters creates a juxtaposition as well. The stillness present in Burros is enticing in an odd way. It’s almost frustrating as the camera stops moving, and everything on screen is still with it–but that plays up the idea of stress and struggle that the two young girls would be facing on a regular basis. While this technique seems so simple, it does a wonderful job of allowing viewers to feel what the characters would, creating an emotional bond throughout Burros.
With innocence being the most prominent component of Burros, viewers are able to appreciate the constant juxtaposition of pain and suffering present in the film. As the film drives forward, viewers are pulled further and further into it, constantly providing them ways to appreciate the film’s main characters and the film as a whole. Furthermore, the two incredibly talented young actors do so well to keep the film moving, even when it feels like it's standing still. Burros is such a beautiful film, completely capable of wowing any audience.
Written & Directed by Jefferson Stein.
Starring Amaya Juan, Zuemmy Carrillo, Virginia Patricio, Rupert Lopez, Armondo ‘Mondo’ Gonzales, etc.
⭐⭐⭐⭐⭐⭐⭐⭐/10
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