Where Can We Live in Peace?

Distributed by Bullfrog Films, PO Box 149, Oley, PA 19547; 800-543-FROG (3764)Produced by Judy JacksonDirected by Judy Jackson2023, Streaming, 64 mins Judy Jackson directed, produced and shot the film Where Can We Live in Peace? The film’s title refers to migrants in the Celaya, Mexico area who are caught between the U.S. border and Mexico. Celaya is in central Mexico about five hours Northwest of Mexico City. The title also refers to an anthem the migrants sing in the final scene of the film “The Right to Live in Peace” based on the poem by Chilean poet Victor Jara who was killed by Pinochet. Pastor Ignacio narrates the film and provides context throughout it. As he speaks, edited clips portray the situation. At the time of the filming, starting around 2018, the Trump administration moved to close U.S. borders to asylum seekers. Migrants were forced to remain in danger in Mexico while awaiting a hearing in the U.S. Immigration court. The film continues in 2020 during the pandemic when the border was completely closed to asylum seekers. It extends to 2022 when the Biden administration set a record of deportations. The documentary demonstrates the effect of U.S. policy decisions on those who seek asylum. Migrants, who often travel in large caravans for safety, found themselves in a state of limbo: they could not enter the United States, nor could they return home. Pastor Ignacio outlines the key motives why migrants flee their countries: poverty, climate change, and violence. Who would endure life, limb, and home to be rejected at the U.S. Border? We learn through the stories of the migrants themselves. Viewers begin to understand through the storytelling how migrants suffer yet continue to strive, if shown kindness and support. It focuses on the psychology of the migrants and volunteers who try to assist them as best they can. It illustrates how a small group of compassionate individuals, led by Pastor Ignacio Ramirez Martinez and his family, manage to create a haven for desperate people who stop in Celaya enroute to the border. As part of their Christian mission, Pastor Ignacio and his wife Patty began their efforts by bringing food to the travelers at the railway tracks. The train is known as La Bestia; there are shots of migrants running to jump aboard the train; there are later shots of migrants who lost their limbs. In time, Pastor Ignacio realized they needed shelter as well and founded the ABBA safe house. Not only could visitors shower, get food, clothing, and rest, but the pastor also began to collaborate with the International Committee of the Red Cross to provide needed medical aid. His daughter, Abril, works as a psychologist and instructs the visitors about their rights and how to counter threats. When he realized the migrants needed legal advice, he attended law school so he could possess skills to advise them. His Christian beliefs were put into practice as he realized migrants wanted what everyone wants: family, home, work, and opportunities for their children. The care at ABBA counters racism, xenophobia, and demonization of the poor. The film manages to quickly profile a number of the migrants despite its short playing time of 64 minutes. We see a child, Maria, discuss the extortion her father faced. The father, even after being notified of the risks by the pastor, decides to venture into a dangerous area where criminal gangs might kidnap his daughter for ransom. We meet another father, Hector, who left Guatemala with his daughter, seeking opportunities and safety from drug gangs. Joel tells how he was shot six times in Honduras; Pastor Ignacio suggests he apply for asylum. We are in the room when Josue’s wife, who fled from violence in Honduras, makes the tough decision to withdraw their hearing for asylum as she cannot wait for months. A group of four young men from Venezuela tell of how they crossed the “dangerous Darien Gap” between Panama and Colombia. They describe dead bodies, how they helped save a woman stuck in the water, and how migrants were shot at. One was shot and showed the scar on his right side. Migrants tell the story of how coyotes, people who are hired to help them travel to the border, take money and strand them. We also are introduced to Marie, who lost her legs from trying to catch the train, and her daughter, Tiffany. She is eligible for prosthetics from the Red Cross. After learning to make jewelry with hopes of becoming a businesswoman, she falls in love with Javier. As she spent longer at the shelter for medical care, she appears the most on screen. Pastor Ignacio and the safe house ensure them all their dignity. To inspire them from hopelessness, they have musical events and computer training. Yet many of them, after enduring difficulties in Mexico, ultimately accept rides back to their home countries. A few of the many volunteers are included such as “Fiesta Stan” who raises funds for food, Elvia who cooks, and Luisa, a former kindergarten teacher, who works with the children. Diego teaches digital literacy skills to those disabled from the trains. Gurdur teaches jewelry making. Despite feeling overwhelmed by the numbers in need, and frustrated by cruel traffickers, Paster Ignacio didn’t stop at providing basic care. He approached the City Mayor of Celaya, Javier Mendoza Márquez, about acquiring land to build a Cultural Center of Human Rights where community members and injured migrants can live and learn a trade. With the approval of the land, he solicited architect Pedro Alvarado to design the facility. His vision and drive cause one to reflect on the impact one person, fueled by compassion rather than hate, can have on the lives of others. The Center was just being proposed during the filming in July 2023. The editing draws contrasts and connections. One scene pairs a clip of President Trump claiming migrants are bringing drugs and crime to another of smiling children to counter that narrative. A statement from the President indicating that tariffs would be placed on Mexico if the migrants continue is followed by the fact, “80% of Mexico’s exports go to the United States.” The consequence of this was that the Mexican President Lopez sent the National Guard to Mexico’s Southern border and increased aggression towards migrants; this is shown through clips. The production was solid. The videography was sometimes shaky, providing an informal feel. Some of the graphics helped explain situations to viewers. The director is not ambiguous about her portrayal of President Trump’s policies as cruel. Textual graphics are the voice of the director Judy Jackson, who is sometimes heard off screen. The film is told in Spanish with English subtitles; there were no issues with reading the text or understanding the action. Music changes fitfully with changes in the mood of the scene. One solution the film offers to address the problem is to treat all people with kindness and compassion and to help others as best you can. It also shows how a local community and local government have direct impacts on people’s wellbeing. It doesn’t attempt to offer any policy solutions to the violence, poverty, and environmental conditions that force migrants out of their home country. Given that former President Trump won the 2024 election with a campaign that demonized foreigners and promised to aggressively deport undocumented immigrants, this documentary offers insight into the perils that may be aggravated by new American immigration policy. It would be useful in classrooms where the human face of immigration is presented. Viewers can consider the caring approach of the pastor and consider his model of empathy, caring and action. Awards:Best Inspirational Film, Barcelona Indie Awards; Best Feature Documentary, L.A. Independent Women Film Awards; Best Human Rights Film, Best Woman Cinematographer, Barcelona Planet Festival; Best Director, Red Movie Awards, Reims; Best Director, Hollywood North Film Awards; Best Inspirational Film, New York International Film Festival; Best Documentary Feature, Boston Indie Film Festival; Best Cinematographer, San Jose Film Festival; Award Winner, Toronto International Women's Fest; Award Winner, Montreal Women's Festival; Award Winner, L.A.Indies; Award Winner, Berlin International Art Film Festival; Award Winner, IndieFEST Film Awards; Award Winner, Berlin International Art Film Festival

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