In the opening scene of Monica Sorelle’s directorial debut, Mountains (2023), a demolition crane, akin to a ravenous beast, methodically dismantles what were once walls, roofs, and spaces teeming with laughter, tears, love, and sorrow. A wide shot reveals a black man donning a white helmet and a high-visibility vest standing before a white house slowly succumbing to the insatiable jaws of the crane. In the swimming pool behind him, the reflection of the ongoing demolition dances on the water’s surface as an inverted tableau. Indeed, the world known by the man overseeing this vent, Xavier (Atibon Nazaire), has been upended.

Unveiling the Savage Symphony: The Opening Scene

This inaugural scene masterfully encapsulates the central theme of the film: the destruction of Little Haiti, a Miami neighbourhood that once harboured tens of thousands of Haitian immigrants. Mountains delicately and thoughtfully portrays the rapid changes sweeping through Little Haiti under the banner of gentrification. Sorelle, a Haitian-American artist born in Miami, possesses a keen awareness of the issue’s intricacies and is determined to address them with finesse.

Little Haiti’s Vanishing Identity: Gentrification’s Impact

Little Haiti’s proximity to fashionable bars, restaurants, and shops renders it particularly attractive to developers who purchase the homes of Haitian residents only to raze them and replace them with opulent mansions. There is an additional layer to this so-called neighbourhood revitalisation project—the rising global warming-induced floods in Miami-Dade County make Little Haiti’s higher altitude a haven of relative safety. For more information about the transformation of Little Haiti, I highly recommend Christina Morales’ article in The York Times, New Little Haiti Residents Fear Losing Their ‘Home Away from Home.

The Heart of the Home: Family Dynamics in Xavier’s House

Mountains navigates these challenges through the story of Xavier and his family: his wife Esperance (Sheila Anozier) and their adult son Junior (Chris Renois), all residing in their modest Little Haiti home. Xavier, a construction worker, shoulders the responsibility of providing for his family by working overtime and dreams of securing a larger home for them. Esperance maintains the household while supplementing their income through sewing and working as a crossing guard. Meanwhile, their son Junior, who dropped out of college, aspires to become a stand-up comedian.

Homecoming Echoes: A Tapestry of Warmth and Love

Sorelle adeptly lays bare the family dynamics early in the film. Xavier’s return from work offers a stark contrast to the cold demolition sites. Their home, a quaint dusty pink house, stands in stark contrast to the white edifices that Xavier demolishes en route. As he steps inside, the audience can almost taste and smell the delicious food prepared by his wife, with vibrant colours and the steam from the dishes enveloping the viewer in warmth, comfort, and security.

The interior is replete with warm hues—oranges, yellows, and browns—interspersed with an array of trinkets, including family photos, prescription bottles, and colourful fruits. Haitian music fills the air, and Esperance moves gracefully to its rhythm. Xavier and his wife share the big dining table, engaging in heartfelt conversations in Haitian Creole, overflowing with mutual love and affection. He addresses Esperance with terms of admiration and respect, such as ‘my queen,’ ‘my love,’ and ‘little mama,’ showcasing palpable chemistry between the couple.

Cultural Harmony and Conflict: Language, Dreams, and Aspirations

During dinner, Junior, their son, returns home, instantly shifting the atmosphere by rapping in English. Affectionate greetings between him and his mother are juxtaposed with the underlying tension between him and Xavier. Junior is the sole English speaker, even as his parents respond in Creole.

This scene underscores Sorelle’s prowess in character development, laying the groundwork for Xavier’s aspiration to mold his son into the person he wished to become if given the opportunity. As a Haitian immigrant, Xavier had to prioritize financially supporting his family, often taking low-paying jobs such as driving taxis or working in construction. Conversely, Junior remains committed to pursuing his dream of becoming a comedian. Through his stand-up comedy routines in the film, viewers gain insight into the complexities and challenges faced by Haitian immigrant parents, showcasing Sorelle’s skill in weaving political and personal narratives.

Cinematic Poetry: The Visual Language of Mountains

While some might argue that Mountains attempts to address too many issues, resulting in rushed or underdeveloped aspects, including Xavier’s experiences of racism in his workplace, it is essential to acknowledge Sorelle’s achievement in bringing heightened awareness to the relentless destruction wrought by advanced capitalism on communities. Capitalism, devoid of empathy, disregards the survival and preservation of minority cultures, much like the demolition cranes that obliterate anything impeding their commodification.

Cinematographer Javier Labrador Deulofeu skillfully captures this sensitivity by allowing the camera to linger on poignant visuals with minimal movement. As Xavier traverses the neighbourhood, the passing buildings seen through the car window underscore the inexorable pace of change.

Among the film’s most captivating moments are those featuring Esperance in her sewing room, richly adorned with colorful fabrics and patterns. Similarly, scenes depicting the affection between Xavier and his wife radiate warmth and tenderness, representing a powerful antidote to the ruthless forces of capitalism.

A Symphony of Sound: Music, Culture, and Capitalism

Furthermore, the film boasts stunning sound design, intertwining Haitian music and radio news with the sounds of the Ra-Ra music festival, epitomizing the vibrancy, joy, and rhythm of the culture. This contrasts sharply with ominous sounds that underscore capitalism’s encroachment, such as the constant calls from potential buyers pressuring the family to sell their home—a reminder of the ever-present, irrevocable force of change.

Hope Amidst the Rubble: ‘Behind Mountains, There Are More Mountains‘

The film’s title draws inspiration from a Haitian proverb featured in the opening scene: ‘Behind mountains, there are more mountains.’ As Sorelle explained in an interview with Robert Daniel from RogerEbert.com, this resonates with her due to the Sisyphean journey experienced by working-class immigrants in America, where one strives to ascend the mountain, only to face persistent setbacks.

Love, Heritage, and Resilience: The Essence of Mountains

Mountains aptly portrays this struggle while offering a glimmer of hope that love, respect, and a deep connection to one’s cultural heritage can stand as bulwarks against the forces of capitalism and gentrification. As the film implies, home is not merely comprised of walls, roofs, and floors—it is forged from the bonds between people and the emotions that bind them. These are impervious to the onslaught of demolition cranes.