When 19 year old Nero (Johnny Ortiz) illegaly crosses the border, fireworks appear in the sky in a colorful play of colors. It’s a highly ironic greeting for the illegal immigrant, who grew up in L.A. but was deported from the authorities. No one wants him in the country he longs for. Nero becomes a green card soldier in the last minute in order to attain citizenship. The so-called “Dream Act,” a building block of the War on Terror, makes it possible for immigrants to get a residence permit after serving in the army for 2 years. Iranian director Rafi Pitts (THE HUNTER) uses young Nero as anbitterly ironic example of bitter irony. Many immigrants don’t get citizenship after their military service, despite what is promised. Long, chamber piece-like scenes follow Nero as he crosses the border again, stays in a pompous Beverliy Hills mansion where his brother Jesús (Ian Casselberry) works as a domestic worker, and finally while he is at a military checkpoint somewhere in the Iraqi desert. SOY NERO, which was in the Berlinale competition this year, watches over Nero’s shoulder who doggedly follows his dream of America, falling somewhere between being a social drama and a satire. The story is based on the real life of Mexican Daniel Torres. Rafi Pitts and his cinematographer Christos Karamanis serve impressive images like the aforementioned new year’s fireworks or a volleyball match which Mexican youths and US soldiers play over the border fence.

Christian Horn

Translation: Elinor Lewy