Céline Roustan
Anyone who has lived abroad will be familiar with just how tedious the immigration process can be. When you are trying to start a new life, waiting for a change of status or a renewal leaves you in an uncertain situation and prevents you from being able to plan for the future. In I Have No Tears, and I Must Cry, from writer/director Luis Fernando Puente, Maria Luisa and her husband finally got her green card appointment, bringing them one step away from finally being able to start their life together. This poignant narrative underscores how these systems can ensnare individuals in a state of limbo, as a crippling tension starts to get in the way of everything they are trying to build.
“Something I rarely see portrayed in film or television is the bureaucratic side of immigration. Yet, it is a topic that is frequent in immigrant communities”, shared Puente, as we discuss his motivations behind creating I Have No Tears, and I Must Cry. As Mexican immigrants in the US, he confessed that the film is based on his wife’s green card interview and what really struck me in his film is the authenticity and how it didn’t need to rely on an antagonistic immigration officer to land its impact. Instead, it shows how the situation and the process themselves are already hard to deal with, and how every interaction with an official has the potential to completely change your life, in a good or bad way. “I want to provide a glimpse into this reality that I hope garners empathy for the thousands and thousands of immigrants that go through this process every single day”, the director reveals.
Enoc Oteo (L) & Alejandra Herrera play the married couple navigating the immigration system.
From the exposition in the car we feel how excited, hopeful and tired this married couple is with their situation meaning they are unable to start their life, or even furnish their home, together. The importance of this interview is well established, and we know that what will happen in that room can change their future, with that one immigration officer holding all the power in their hands. As the interview goes on, the tension slowly builds with the camera alternating between showing everything Maria Luisa is focusing on, including the officer whose apathy slowly becomes frustrating, and capturing how she tries to cope with events, without breaking down.
The cinematography of Oscar Ignacio Jiménez and the production design of Elizabeth Harrison Valle combine to trap us in that interview room, with its nerve-racking atmosphere. Once the environment is set, the camera starts switching between Maria Luisa and the officer with close-ups, until everyone is certain that this game is rigged and the officer is the only one in control. Marshal Davis’ edit and Erik Naumann’s sound design are also crucial in building the film’s tension, without distracting us from the importance of the dialogue.
Cherie Julander as the immigration officer
Ultimately, this film is more about what is left unsaid, and what will happen after, off screen. The performances are what makes the interaction so intense, while also showing just how taxing the immigration process is. Firstly, it’s Cherie Julander, as the immigration officer, who is impressive. Showing absolutely no emotion, without being cartoonish, she exposes the disconnect between the fact that for her this is just administrative work, while for them it’s their life. However, it’s Alejandra Herrera as Maria Luisa, who is simply incredible. When her face occupies the frame she is able to convey the raw mix of emotions of her character with a gripping authenticity. The short’s last scene becoming all the more powerful as she decides to take the little bit of control she has.
I Have No Tears, and I Must Cry had its World Premiere at the 2023 edition of Sundance. It went on to play multiple other festivals, including Palm Springs and Aspen, picking up a number of awards along the way, ahead of its online debut as a Vimeo Staff Pick. Puente is currently working on a new short and developing a feature film adaption of this film.