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The politics of the film are impossible to ignore though, especially as those in power in the United States perpetuate falsities about Haitian immigrants and strip them of rights. Monica is, rightfully, baffled that she has to have this kind of conversation: \u201cIt feels so stupid to have to do this, but I also thought a lot about demystifying Haitian culture for a lot of people. Even though we have such large populations in major metropolitan cities, I feel like we\u2019re underrepresented and a lot of what you hear about us is geopolitical tragedies and news from the island. In a way, I just wanted to talk about the culture I grew up in and the family members I know, just honoring them in a way that I don\u2019t think they\u2019ve been honored in cinema before.\u201d<\/p>\n
Films like Fernando Fr\u00edas de la Parra\u2019s Ya no estoy aqu\u00ed<\/em> and Ira Sachs\u2019 Little Men<\/em> were influential to the approach Sorelle took with Mountains<\/em> \u2013 the former in how to find \u201crelatability in specificity\u201d in its depiction of Monterrey and the latter in its \u201cquiet beauty in approaching gentrification, power, and economic status\u201d \u2013 but Italian neorealism also directly influenced its creation. \u201cWe\u2019re watching, in real time, an entire city and neighborhood being changed before our eyes, so having a mostly realist approach was the best way to show how capitalism really sucks the magic out of everything.\u201d<\/p>\n \u201cHaitians and other Caribbean folks are so magical. There\u2019s a mysticality to our experiences and our spirituality, but I wanted to ground the film in realism to imagine that the only thing that existed for our lead, Xavier, was the pursuit of material success. We only lean into magical realism near the end to usher him out of that mindset,\u201d she explains. That realism even ties into the way that language is approached in the film, with characters and actors actually speaking Creole like the Haitian immigrants in our fair city actually do. It\u2019s something that Sorelle is conscious she could not have managed with a bigger movie, but the limitations of the microbudget feature did not stop her from making the film she wanted to make.<\/p>\n \u201cI was motivated by the personal ethos of the film and the small crew,\u201d Monica says, noting that the community she built with this film is a grand part of what made the experience worthwhile. \u201cProduction was really mobile in case of anything, like if a neighbor passed by that we could interview. We kept our footprint small in the community, but there were things that happened that made shooting hard. We\u2019d be on a demolition site and thought they were on break and in the middle of the dialogue, the work started up again and we\u2019re having to scream at each other through the scene.\u201d<\/p>\n \u201cWe had to roll with those punches, but everyone showed up. Everyone who\u2019s there, on screen or off, put their all into it because they believed in the story, and that\u2019s indicative of the kind of community filmmaking that I hope to continue being a part of, even as I scale up. Maybe a smarter filmmaker would make something that can be shot in Belarus or something, but I\u2019ve built a community in Miami and I\u2019m in love with them and want to continue making films about us.\u201d<\/p>\n For now, she\u2019s continuing to prep and create new work and, as she jokes, Monica is \u201cpretty gagged\u201d about her place in BFI\u2019s Black Debutantes series, which she is thankful to R\u00f3gan Graham for putting together and placing these works in front of audiences in the UK. \u201cI\u2019m showing with so many heroes and elders that I look up to, like the fact that my name is anywhere near Cauleen Smith is amazing. Even with the constraints that these women had on their budgets, on their films, on their creativity, they were somehow still able to make groundbreaking work. I\u2019m so proud to be standing arm-in-arm with these brilliant women.\u201d<\/p>\n Mountains plays at the BFI on May 29 2025 as part of the Black Debutants<\/a> season.<\/em><\/p>\n<\/div>\n