Mill Valley Film Festival program notes by N. Isaacs
A meditative and dramatic tale of a young woman’s remarkable journey
to her forgotten homeland. Sonia is a single mother living in Los
Angeles, far removed from her Garifuna—West African, Arawak and Carib
Indian—roots. Haunted by memories of an American soldier she once loved
and dreaming of her dead mother, Sonia searches for answers among the
mundane landscape, but finds few. After getting fired from her job as a
nanny, Sonia journeys to Honduras to grant her mother’s request to
perform a ceremony that will let her rest in peace. As her elders teach
her the sacred Garifuna ritual, Sonia begins to embrace her own nearly
forgotten and stunningly rich cultural roots, as well as her identity as
a mother to a daughter of her own. Set amidst the lush Honduran
landscape and punctuated by traditional Garifuna music, Spirit of my
Mother is a story about one woman’s transformation as she learns to
embrace the past and move gracefully into the present.
SXSW Film Festival program notes by Heather Courtney
Sonia is a Garifuna woman, raising a young daughter alone in Los
Angeles. Disturbed by dreams of her deceased mother, Sonia journeys back
to Honduras with her daughter and returns to her native village to seek
guidance from relatives and elders. Through semi-documentary footage,
we see Sonia reintroduced to the ceremony and rituals of her culture,
and through this discovery of self- and cultural- identity, a healing
process begins. An altogether original take on the mother/daughter
story, The Spirit of My Mother (El Espíritu de Mi Mamá) is a unique film
essay. Blending narrative and documentary techniques, director Allié
tells the story of one woman’s quest to reach out to her mother, and to
the ancestral traditions and endangered culture of the [Garifuna].
Festival de Cine de Bogotá program notes
En “El Espíritu de mi Mamá” se vive el mundo de discriminación que
tienen que sufrir los inmigrantes ilegales en los Estados Unidos. La
protagonista dejó su mundo, su pasado y su esencia misma, solo para
encontrar al padre de su hija. Confrontada en sueños por el espíritu de
su madre, quien le pide le de comer y beber, Sonia siente que no se
encuentra en paz y que está sufriendo espiritualmente; la única forma de
encontrar alivio es regresando de nuevo a su tierra, Honduras. Al
llegar, Sonia se ve enfrentada a su pasado ancestral, con los ritos, la
música y los sincretismos religiosos que toman como base esencial el
legado de la cultura Africana. Solo con un ritual llamado Chugú, la
protagonista logra dar de comer y beber, de forma simbólica, a su madre,
y descubre que no solamente se está reconciliando con ella, sino que lo
hace al mismo tiempo con su tierra y su cultura. Es así como se genera
un reencuentro con ella misma.
City Search review by Amanda Morrison
Like a stranger in a foreign land, the viewer of Ali Allie’s
evocative “El Espiritu de mi Mama” feels initially disoriented, knowing
little about the context within which the film’s plot unfolds (unless
said viewer happens to be a Honduran immigrant or an anthropologist).
Neither the surroundings nor the timeline of the story are initially
clear, as the film moves between the present and hazy flashback scenes,
and between a vague Westernized setting (it turns out to be Los Angeles)
and an exotic beach locale (Honduras, as eventually becomes clear).
Perhaps this is Allie’s intention: to never allow [the] audience to be
comfortable as voyeurs; to force them to feel like clueless tourists.
Although interesting as a self-reflexive strategy, it seems to run
counter to the film’s overall intent, which is to expose viewers to the
unique culture of the Garifuna. The Garifuna are people of West African
descent who settled along the Atlantic coast of Belize, Honduras and
Nicaragua after escaping a slave ship that ran aground in . Many
argue they are the only African descended group on the American
continent to have never been enslaved, and whose culture and traditions
remain relatively intact.
But if Allie requires [the] audience to work a bit (you can’t just
lean back and allow this exotic culture wash over you), “El Espiritu de
mi Mama” ultimately becomes an eloquent meditation on the Garifuna. This
meditation takes the form of a young woman’s journey to reconnect with
her long-lost mother. A descendent of these original Garifuna, Sonia is a
single mother who immigrated from Honduras to the United States but who
still holds close ties to her native country. The film charts one
specific trip home. In the spirit of much of Latin American literature
and cinema, Allie weaves Sonia’s story in magical realist style.
Understood this way, the film’s irregular pacing and nonlinear timeline
seem less uncanny. The viewer comes to accept the fact that Sonia is
searching not for her living mother but for her departed mother, who
haunts Sonia in her dreams.
In those dreams, her mother appears not as a frightening apparition
but as a benign figure who seeks only to be “refreshed.” Sonia travels
from Los Angeles to her homeland to perform a ritual for her mother with
other Garifuna relatives and friends. Elaborately staged with authentic
sets, costume and music, the ritual is the high point of the film. As
the Garifuna prepare food and libations for Sonia’s mother, the meaning
of her strange request—to be “refreshed”—becomes clear. By being called
upon to provide “refreshments” in this ritualized way, Sonia is led to
refresh not only the memory of her mother, but of her motherland.
Some Other Film Festival Screenings
FESPACO (Burkina Faso), BLACK INTERNATIONAL CINEMA (Berlin), ZANZIBAR
(Tanzania), URBAN WORLD (New York), THE WORLD (Montreal), JORNADA DE
CINEMA DA BAHIA (Brazil), CINE LATINO (San Francisco), LOS ANGELES
LATINO INTERNATIONAL, CINEMA OF THE AMERICAS (Miami), FILM ARTS (San
Francisco), SAVANNAH, JAMAICA, AFRICAN DIASPORA (New York), PAN AFRICAN
(Los Angeles), PAN-CULTURAL (Houston), ANN ARBOR, CHICAGO LATINO,
ATHENS, CINE-FIESTA (Montreal), SMITHSONIAN NATIONAL MUSEUM (Washington
Arts Dialogue interview with Ali Allie by Sonja van Kerkhoff (excerpt)
My most recent project, a Spanish-language film entitled “El Espíritu
de mi Mamá” (Spirit of my Mother), touches on themes about the
everlasting life of the soul and the idea that we are only temporary
travelers on this earth. One of the lines of the film is “We are not
from this place… we are only travelers in this world”. Also, the film
brings up the issue of forgiving one’s parents. We don’t have enough
films that honor parents, especially about forgiving them.
The plot follows Sonia, a young Garifuna woman, who leads a troubled
life as a houseworker in Los Angeles and is plagued by a haunting memory
of a relationship with an American soldier. Her efforts to escape her
present circumstances and past trauma are fruitless until she has a
dream of her deceased mother who calls upon her with a sacred request.
Sonia discovers she must journey back to the North Coast of Honduras to
comply with her mother’s request, at the same time leaving behind her
old self. She learns from elders in her homeland what she must perform
in honor of her mother so that she may rest in peace. The result is much
more than that, as Sonia discovers her cultural roots and her own
identity as a mother, stimulated by Garifuna ritual.
The Garifuna are people of West African, Arawak and Carib Indian
descent who were exiled from their homeland island of St. Vincent in
1797 and ended up settling along the Atlantic coast of Belize, Honduras
and Nicaragua. Their African-based culture, traditions and language have
remained largely intact.
The film isn’t a documentary; it’s no one’s story in particular. Even
though it deals with a very small cultural group, the themes are
universal. In making the film, I sought to contrast the perception of
life between the material realm of the United States and a natural and
spiritually tangible world in Honduras. The film begins dramatically in
the United States where outsiders to the culture must “act” to adapt.
However, the dramatic style of the first half recedes as life becomes
more real to the main character during her journey back to Honduras.
Thus, the film begins to take on a more observational mode in order to
allow a participatory experience in the Garifuna rituals, yet in the end
returning to a dramatic and reflective characterization.