Based on filmmaker Cary Joji Fukunaga's firsthand experiences with Central American immigrants seeking freedom across the U.S. border, Sin Nombre tells the story of two young teens who become unexpected partners in their trek toward the promise to their north. Taking home both the Directing and Excellence in Cinematography Awards from the U.S. Dramatic Competition at the 2009 Sundance Film Festival, the film continues to position its already award-winning director among tomorrow's most talented filmmakers. And even though Sin Nombre's journey is simple and almost completely predictable from its opening to its end, its story of imprisonment, belonging, freedom, condemnation, salvation, and hope is one that not only speaks to the specific plight of the immigrant but to a reality in which those issues remain no matter what side of the border on which we live.

For Sayra (Paulina Gaitan), her opportunity to cross the border arrives when the father she has never really known is deported back to Nicaragua and determines that Sayra should return with him to New Jersey. But while the navigation of Sayra and her father's relationship as they attempt to elude border patrol agents over a good-week-or-so journey could have been enough for a feature length film, also along for the ride is Willy (Edgar Flores) and a fair amount of baggage.

After Willy's attempts to have a life outside his gang "the Mara" backfire in the unfortunate death of his girlfriend, Willy finds himself on the same train with Sayra. While he was not there to protect his girlfriend from the violence that lead to her death, Willy is feet away when his gang leader Lil' Mago (Tenoch Huerta Mejía) threatens Sayra. And in one fell swoop, Willy saves Sayra, betrays the brotherhood that claims ownership of him forever, and marks himself as dead.

Cue the meeting of two young people in search of freedom against which the odds are decidedly stacked. As Sayra's father tells her before they leave, "Not half the people are going to make it." As we see almost as soon as Willy betrays the Mara, there are probably more Mara out to make sure Willy does not get across the border without paying for his crimes than there are border patrol agents. "Don't you get it? I'm a dead man," Willy tells Sayra. But first reaching out to Willy even when her father tells her to stay away, then later going with him instead of her father when their paths split, Sayra not only speaks to her belief that Willy is still alive but also treats him as such. And although Willy spends much of the film reminding her that he is doomed, as the two inch closer and closer to the border through their joint efforts, Willy is able to see, even if only for a moment, that his future might actually hold the possibility of belonging and purpose instead of just certain death.

But don't get too excited (or disappointed); Sin Nombre isn't one of those movies in which everyone triumphs against all odds, families are reunited in a flurry of smiles and hugs, and everyone escapes that which hunts them. Sin Nombre is actually a realistically depressing movie in which hope becomes clear to all, but for many is not fulfilled. Although the movie very much speaks to the possibility for all of us to live beyond either our own actions or the outside forces that physically or spiritually imprison us, it is also honest about the fact that not every consequence, line, and person in life can be escaped. And as few freedoms are reached only at the cost of many others, the movie raises what is actually an interesting question about the nature of freedom itself.

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