Fresh from its award success at this year’s London Independent Film Festival (LIFF) , which showcases the best of indie cinema from around the world, FRONTERA – which has already been described in indie circles as ‘A Trump Supporters Worst Nightmare’ – now prepares for what could be a prosperous opportunity on release.
After the death of their father, who is an arms dealer for a cartel, brothers Bradley Dupont Jr. (Justin Berti) and Sonny Dupont (Omar Saavedra, who co-wrote the screenplay with Armbruster) have to reconnect. Bradley is running an important political campaign, whilst Sonny appears to be carrying the can in relation to an incomplete arms deal for a local hood, Joseph Cole (Oliver Seitz), who begins to make threats against Sonny and his girlfriend Sara (Zoe Sidney).
As time goes on, both brothers have to decide whether their own futures are going to be infected with the aftermath of their father’s demise – or whether they can take control and regain their respect and independent – for their father and themselves….
Expanded from a 45-minute mini feature into an 88-minute full length one – as well as shot over a period of four years, it was affectionately described by lead Justin Berti at a post-LIFF screening Q & A as a ‘miracle film’. It’s another triumph of determination and creative spirit (a sort of micro-budget ‘GODFATHER’) that evokes memories of John Carpenter’s work on his 1976 classic ASSAULT ON PRECINCT 13, filmed for $100,000 (although according to producer JS Kaplan in a recent Blu-Ray release interview, was in fact made for about $200,000).
The plot-line and characters are familiar and the mix of ambiguity amidst politics and arms deals has been explored in any number of classic Hollywood films over the years. FRONTERA does lend itself to films like HEAT and TRAFFIC in that the characters are entwined on both sides of the coin, but politics in recent years has become a little more open in its’ frankness about the dealings of politicians in the shadows.
That said, considering the constraints it has had in the production of it, it comes off rather well. There’s a neat shot of Sonny looking out on what appears to be the aftermath of the recent California flash fires which devastated Southern California in places like Malibu.
Cinematographer Matthew Macar creates a rawness in the look of the film, with crisp light and shadow throughout and Armbruster is to be applauded for his efforts here.
