directed by:
Luis Ferrer written by: Luis Ferrer genre: Drama, Thriller |
There are a great many things that instantly go right in Luis Ferrer’s “MIA” as you get immersed in his film, certainly including the amount of tension, mystery, and intrigue that is immediately established. Long before we even know what this movie is all about or where the plotline is going, within mere seconds, we already feel this looming, ominous feeling like something is about to go wrong…and I gotta say, I genuinely enjoy how Ferrer is able to provide us with such a sinking feeling so very, very quickly. Whatever he’s got goin’ in the background sounds…I don’t know if it’s a moose call or what the heck it is, it absolutely adds to this terrifying feeling that something ain’t on the level here. Combined with the smart way that he’s only showing us a little bit at a time as the plotline gets established…shots from behind the characters…little visual details that could potentially be clues…tense scenes that seem like people are being watched, followed, and/or stalked…”MIA” instantly gets you interested, yes – but it also gets your blood pumping fast too as the intensity continues to build. I’m already supposed to be on a low-sodium diet and making sure I don’t get my heart beatin’ too quickly – take it easy on me, Ferrer!
When you hear that first muffled scream happening off camera, you begin to realize that your fears were completely founded. We’re introduced to Aaron (Shah Motia), who we have to at least believe could be in dire need of a mental health check. He seems intent on returning a young teenager named Emma (Emiliana Jasper) to her mother, and somehow, despite his obvious kidnapping of her, seems to believe that he’s the good guy in this situation. He doesn’t even have the name of this kid right and insists on calling her “MIA” while simultaneously being in the process of a complete & total breakdown. “You have to believe me,” he says… ”you are my daughter.” The story he creates is frantic yet still compelling…that’s part of the dark magic here…it’s just on the edge of believable. Is it an elaborate scheme to “take girls” – or are we supposed to believe that Aaron is somehow the hero in this scenario? When you’re doing the right things in life, you can do’em in the daylight, right? Things are pretty freakin’ dark as these two characters cross paths for the first time - and if symbolism has taught us anything, well, let’s just say that it’s tough to believe Aaron’s side of the story when we first meet him. I think what a lot of viewers will absolutely LOVE about “MIA,” beyond how quickly the tone and tenor of this film is established like the shadows you see before a storm, is how both Motia and Jasper came into this movie absolutely immersed into their characters. There is no Shah, there is no Emiliana – there is only Aaron and Emma, and it’s an incredible treat to see two actors jump right into their roles, knowing exactly how they’re meant to be played. You know how sometimes you’ll see actors evolve in their roles as what you’re watching continues? That’s not necessary when you come in as prepared as these two were. It feels as though from the moment that Ferrer called out “Action!” on the set, they both stepped right into the skin of their respective characters and instantly went about delivering their scenes with the kind of conviction & commitment you always hope to find right off the bat but rarely do. To say I’m impressed would be putting it mildly – these two deserve serious recognition for their work, and Ferrer deserves his share of the credit for getting the best out of them and knowing they were right for their respective roles. As they say, when preparation meets opportunity, great things will happen – and here we are, proving that’s the case. This mental game of cat and mouse will have you flipping back and forth as you watch, debating what could and couldn’t be possible, what might be real and what couldn’t be…and if you’re able to come to some kind of definite conclusion, then you’re a much better detective than I am.
I know this much - if Aaron is gonna really make his case for his parental rights to “MIA,” he’s really gonna have to cut down the yelling. It makes me freakin’ anxious, and I’m sure I’m not the only one watching that feels that way – so you can only imagine what the girl in the back of his van is feeling. Again, no need to get so loud if you’re doing the right thing, right buddy ol’ pal? Aaron’s not doing himself any favours if he’s really the good guy in this story, and pulling up to the abandoned house is definitely not helping either. I’ll put it to you this way – even IF the guy IS the hero of this film, can we all agree that he is still going to need years and years of therapy to rectify his reckless behaviour? The dude is scary, straight up, full stop. If you’ve ever encountered someone at the end of their rope, you know they act exactly like Aaron is, and that’s every bit as unpredictable as it is frightening. I’m not gonna pretend that I trust him…I’m not saying he’s not right about the story he’s telling, or that what he’s saying couldn’t have an ounce of truth to it…maybe…but I am saying I wouldn’t go near this guy. Ferrer has written a freakin’ masterpiece. This entire film becomes an absolute maze of wondering what could be possible, and trying to distinguish that from what isn’t, beyond all reasonable doubt – and it’s bloody impossible. I’m not one of those people who tries extra hard to figure out a movie’s plot in advance – I prefer to ride along with the main characters and allow the story to unfold at their speed, so I felt like I was in the dark for so much of “MIA” – and I LOVED being blind to what the truth would be. You see things like Aaron make phone calls to his wife, or ex-wife, Lisa…and even things like this, we have to question – it might be something that he’s really doing, but is it something that is actually real? All we know for sure is that he’s not an accomplished kidnapper, because there’s no way that anyone could be so distraught, unorganized, and honestly, inept when it comes to the craft – and that’s a large part of what makes us have to believe there’s some credibility to Aaron’s story about who “MIA” really is. He’s so emotionally invested in this situation that we almost want him to be right despite how scary he is. You feel Aaron’s pain, you feel Emma’s confusion, and you really have no choice but to wonder about what the truth is. Was Emma actually abducted years ago? Is Aaron her real father? We don’t know! Heck, after watching “MIA,” I barely even know which way is up thanks to Ferrer’s spectacular writing. If we start to soften our feelings towards Aaron, is that the equivalent of Stockholm syndrome? What if you lost YOUR child? Wouldn’t you move heaven and Earth to get them back? Wouldn’t you do things you never thought you’d do? Ferrer has given us no choice but to consider the possibility that Aaron is telling the truth, and the more that we put ourselves in his shoes, the more they seem like they could genuinely fit. By the time you’re halfway into “MIA,” you’ll have truly tried to consider everything, and the more details you get, the more questions you have. You gotta love mysteries that run this deep. Without giving anything away, I’ll say that the emotionally potent final twist in this tale will come as the surprise you’d expect a film like this to possess, while also being remarkably understated. It’s the kind of writing that sticks with you because there is an authentic message at the core of “MIA” that can’t be missed. It’s about pain, it’s about humanity, it’s about loss, it’s about understanding, and quite possibly, even about redemption of sorts as well. I think you’ll find “MIA” to be as incredibly well-written as I did. I think you’ll love its mystery, I think you’ll love its thought-provoking plot, and I think you’ll love the acting. I’d go as far as to say, that if there’s something not to be loved about this film, I didn’t see it. Right up to the final twists and turns, “MIA” keeps you guessing. You’ll wanna scream, you’ll wanna cry, you’ll wanna go and hug your loved ones after. Ferrer’s movie gets four & a half stars outta me – it’s brilliant. |
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