In the Summers Review: Sharp Direction Yields An Impressive Drama About Fatherhood Under Addiction

Colombian American writer-director Alessandra Lacorazza brought her feature debut, In the Summers, to the 2024 Sundance Film Festival. With thoughtfulness and clemency, her story captures a broken family dynamic through the eyes of two young girls during their formative years. René Pérez Joglar (also known by his rapper/singer stage name Residente) leads the cast with an exceptional principal performance capable of drawing out a surge of empathy from viewers. And thanks to phenomenal camera work and partnership with cinematographer Alejandro Mejía, In the Summers is elevated by an impressive experience both emotionally and visually.

Two sisters, Violeta and Eva, spend the early years of their lives visiting their loving but unstable father, Vicente. After a tragic incident shatters the family’s illusion, Vicente struggles to make amends for his actions.

Pros

• Alessandra Lacorazza’s director is understanding and judgment-free.
• René Pérez Joglar (Residente) gives an amazing performance.
• The script contains sharp storytelling, yielding a beautifully human experience.

Cons

• At times, the film underexplores some consequences.
• The transitions between the chapters feels too abrupt.

For her feature directorial debut, Lacorazza chose to tell this striking story in four chapters. We first meet Vicente anxiously waiting for his two young daughters, Eva (Luciana Elisa Quinonez) and Violeta (Dreya Castillo), to arrive at his new home in Las Cruces, New Mexico. Lacorazza immediately lets us in on Vicente’s current state — he’s clearly struggling with something, but his relationship with his daughters takes priority, choosing fun activities and conversations to engage the girls. Simple pleasures like gazing at the night sky in between fun and silly games is Vicente’s go-to method for bonding.

Resident Gives An Exceptional Performance As A Father Suffering From Addiction

As the years progress, we’re let in on the fact that Vicente isn’t necessarily happy with his current state. He’s disappointed by his past failed relationships and inability to find good work and soon lets his actions display it. From sudden violent eruptions of emotion to irresponsible choices while under the influence, Vicente loses his grip on his life and soon, the trust of his daughters. Joglar’s confidence and charm are laser sharp in this role. As his character evolves in subsequent chapters, so does his performance, employing a refined precision that commands empathy from his viewers.

One of the best aspects of the film is Lacorazza’s storytelling through the eyes of Vicente’s daughters. Growing up, we’re not always privy to our parents’ struggles, which the talented director recognizes from the beginning. But she also understands the nuances of addiction, operating through a nonjudgmental lens. Lacorazza’s direction is intimate and quiet yet sharp and obvious in capturing the unspoken. The script doesn’t dare belabor the point of addiction’s effects on young adults who just want to develop a relationship with their father. She trusts her camera and actors to execute, and they do it with grace.

Sasha Calle & Lio Mehiel Complete The Film’s Final Chapter With Power

Allison Salinas and Kimaya Thais, who play young Eva and Violeta, give strong performances. As their separate relationships with Vicente are explored, a sense of favoritism is exposed. Salinas and Thais play off this well, giving their all where it’s required, then pulling back to express more subtlety. Sasha Calle and Lio Mehiel — as the older Eva and Violeta — perfect their characters in the final chapter. They both demonstrate that time doesn’t necessarily heal all wounds. We just become more understanding of the circumstances that gave us the scars. Even in their limited time, their performances are powerful.

While In the Summers has a lot of positives going for it, there are some components that steal some of its magic too. Most of the chapters transition too quickly to the next without showcasing the consequences. As an example, one major mistake by Vicente leads to a life-or-death situation. We’re never treated to the direct outcome of it before the next chapter comes. In hindsight, it’s a missed opportunity to explore the evolving dynamic of Vicente’s psyche and relationship with his daughters. However, it does leave a nice ambiguity regarding how that might affect their next visit.

Something else that didn’t particularly work for me was the use of certain character actions as reference points for future chapters. Without going into too much detail, these moments felt a bit contrived. But at least Lacorazza maintains the cohesion between the chapters. Additionally, where more details would have benefited the script, a hastened approach takes precedence. While frustrating in isolation, it doesn’t ruin the film by any means. If anything, it’s a testament to Lacorazza’s ability to craft a beautifully human feature that I can’t help but want to spend more time on.

Ultimately, this is a great debut. Through the eyes of two young girls, Lacorazza takes us on a judgment-free journey about fatherhood under the grasp of addiction. While the film has impressive direction and cinematography, there are times when it feels underexplored with regard to the consequences. Yet, the end result is a journey worth exploring thanks to remarkable and nuanced performances. Lacorazza’s debut is impressively sincere and sharp. In the Summers is a human experience you do not want to miss.