IDENTIFYING FEATURES: FILM REVIEW
Fernanda Valadez’s Identifying Features opens with an image clouded by fog, seen through the point of the view of Magdalena (Mercedes Hernández), a woman from central Mexico and the film’s protagonist. Her teenage son informs her that he plans to cross the border into the United States to pursue a job opportunity with his friend. The scene closes, and we are told this is one of Magdalena’s last memories of her son. He has been missing ever since.
Valadez’s debut film revolves around Magdalena and her quest to find out what happened to her son, Jesús (Juan Jesús Varela), who left home on a dangerous journey three years ago. The only pieces of information she has are gripped with tragedy; the body of Jesús’ friend was found in Mexico, along with the blue bag Jesús carried with him when he left. However, with no concrete evidence that Jesús is dead, Magdalena must take it into her own hands to find out the truth. Along the way, she is joined by Miguel (David Illescase), a boy who has just been deported from the United States and is trying to find his mother. The two roam Mexico with different end-goals, but the same purpose — to find some conclusion to the stories of those who gave their life meaning.
And, like many stories shrouded in mystery, Magdalena and Miguel follow breadcrumbs, despite the possibility that every morsel of information could be their last. One of Magdalena’s first visits is to the transportation service that runs the bus that Jesus took. Magdalena asks a bus coordinator whether she knows anything about bus disappearances, and to her dismay, is quickly turned away.
Just as the first door to Magdalena’s journey appears to close, the same employee finds Magdalena in the bathroom and whispers the truth through the stall doors: that buses have disappeared, and there’s only one person who might have the answers. With such secrecy comes an air of shame — two women disclosing information in private, for fear of who might be listening.
The uncertainty and bleakness of the film are only further illuminated through a color palette defined by musty gray hues, making slow progress seem as stale as the multiplicity of corpses seen throughout the film. Magdalena’s hair is always tied up in a wispy braid and weariness is only ever worn on her face. In scenes emblematic of satanic themes, fiery reds stand in stark contrast to Identifying Features’ otherwise cool tones, emphasizing the dark and violent fates of families like Magdalena, who are torn apart by the mere chance of reshaping their destinies. And, while Magdalena is met with the suggestion to go home at every turn, home means nothing without her son.
In Identifying Features, Valadez uses Magdalena’s singular story to highlight the shadows of doubt and powerlessness that plague thousands of others. There are few things more heartbreaking to witness than a mother’s desperation, and for Magdalena, the answers she found might end up haunting her spirit forever.
