One needs to wonder whether, when they were conceiving of the proverbial American Dream in the early 20th century, whether the collective of writers and intellectuals ever considered that the most poignant and effective demonstration of their ideas would come from a film made by a transgender immigrant from the Filipinos. Regardless of whether this is what they imagined when talking of the freedom they believed should be afforded to all who make their way through the United States, this feels very much aligned with the direction the world is heading, and a natural progression considering the concerted effort being made in terms of inclusivity. Isabel Sandoval is the future of filmmaking, and with her most recent feature film, Lingua Franca, she immediately establishes herself as not only a profound interesting artist, but an absolutely essential voice in contemporary filmmaking. An elegant, heartbreakingly beautiful elegy to the lost generations who had their voices silenced by the oppressive systems that forced them to be seen as “the other”, and a story told with conviction and a kind of resolute honesty that we simply don’t find in the majority of mainstream stories, Lingua Franca is a masterpiece in every sense of the word, and one of the most impressive films I’ve encountered in quite some time. This may not be her directorial debut, but rather an explosive re-entry into the world of contemporary filmmaking that immediately launches her to the forefront of the discourse surrounding a number of urgent matters in artistic representation – and through making an incredibly powerful story that means something to so many people who don’t often have their voices elevated to this level, Sandoval proves that she is far more than just a filmmaker – she’s an integral addition to a steadily-growing canon of young filmmakers that make stories that have a message, and one that they’re willing to put above everything else in the pursuit of some deeper truth.

The immigrant experience is certainly not a concept that is foreign to literature, with the idea of transposing someone from one culture to another, and exploring the challenges they encounter in this life-changing process being one that has seen many fascinating stories. This isn’t any different in terms of cinema, and we’ve witnessed several touching glimpses into the obstacles that face those who are set to venture into new locations, normally for reasons far more complex than simply just changing their way of life. Lingua Franca primarily focuses on this idea, albeit from the perspective of someone who hasn’t just made her way to the United States, but has rather been there for a while, and is now confronted with the realization that she may not be able to be there for long, since the draconian laws the surrounded issues of immigration (especially in terms of the governmental crackdown on illegal immigrants) being a fundamental focus of this film, and an area in which it extracts most of its most heartwrenching material. Sandoval demonstrates a keen understanding of the immigrant experience, particularly in how she develops the character of Olivia into someone who is assured in her skills and abilities to make a good life for herself, but not as confident in her ability to remain there, since her undocumented existence means that she may very well be the next victim of the harsh laws of the U.S. Immigration and Customs Enforcement, who were operating at their peak during the period in which this film was made, lending Lingua Franca a truly disconcerting sense of reality, with the sound-bites of then-president Donald Trump, played over images of the anxious Olivia pondering her place in a country she both loves and fears, making for a harrowing juxtaposition that leads to some very complex emotions, which Sandoval captures in such vivid, striking detail.

Sandoval is certainly a modern renaissance woman, and taking on nearly every position in this film, serving as writer, director and producer, it is clearly a passion project, one that she feels incredibly strongly about, to the point where she was willing to make sure it reached screens, regardless of the effort it took. In addition to her work behind the camera, she also takes on the main role, and gives a truly exceptional performance as Olivia, a woman so uncertain about her future, but willing to do anything to make sure that she doesn’t befall the same fate as her friends and other compatriots that she has witnessed being torn away from their families, simply for the fact that they dared to try and pursue a new, better life for themselves. There is an abundance of complexity in Sandoval’s performance – her expressive face conveys every emotion imaginable, where she is able to say more with a simple glance than most can with entire monologues. There’s an internalized honesty to her work here that feels so authentic – she takes on a role with a sincerity, bringing Olivia to life in a way that is sincere and without any trace of grandstanding or excess, each decision being one that relates to the character’s journey forward. It’s a powerful performance that lingers with the viewer, and Sandoval’s thorough commitment to portraying Olivia as someone who is certainly not perfect (some of the most impactful moments come from how the film represents her flaws), but is rather a work-in-progress. The film understands that embracing a character’s shortcomings can develop them into much more meaningful individuals, since we are able to see ourselves reflected in them – and the director’s insistence on infusing Olivia with a salt-of-the-earth honesty only furthers the experience of watching this film, since we’re invited to accompany Olivia on this harrowing journey, which is made possible through the film refusing to present her in a way that isn’t entirely true to the intentions of the story.

Lingua Franca is a film that is brimming with life, and it’s difficult to recall any recent film being more intent on exploring the inner machinations of existence than this one. It’s a beautiful and poetic investigation into the immigrant experience, but in a way that feels profound modern, perhaps even dangerously so. I mentioned the concept of the American Dream, which is often associated with works that focus on scrappy young people going against the institution and fighting for what they believe they’re worth, even if the odds are stacked hopelessly against them. The United States carrying the epithet “land of the free” is not arbitrary – there has always been the association between a life of complete liberty and the American way of life, which has led to some profoundly interesting works over the years. Despite being made by a Filipino immigrant, Lingua Franca is just as American as any of these other stories, because it presents the viewer with a striking snapshot of the social and cultural milieu, in a way that is incredibly potent, especially in comparison to the contemporary discourse surrounding refugees and immigration around the world, where those from developing or war-torn nations go in search of a better life, but are often met with animosity by those who prioritize what they consider to be American purity over giving others a chance. Without immigrants, there would likely be no such thing as the American Dream – and Sandoval captures this beautifully through this heartbreaking story of a young woman who doesn’t want anything more than to just live life as her most authentic self (which includes fighting for her right to perform her own gender identity, in addition to taking her place in a country that she feels is already in the process of rejecting her existence overall). She is a fighter, willing to go against the oppressive systems that seek to destroy the hopes and dreams of those who don’t fit into the preconceived notions of what an American should be – but looking at the character of Olivia (or any of the characters that populate this film), it’s difficult to argue that anyone defines the concept of the American Dream, a concept built on hard-work and individuality, more than her.

Sandoval has made a film that serves many purposes. As a powerful manifesto on the immigrant experience, it is a rich and vivid portrayal of the challenges that many encounter when setting off on a journey to their new lives, and the neverending obstacles that they face, long after they have settled into what they hope will be the path to their future. It also functions as a beautiful exploration of identity – very few films have been able to take on the concept of queer issues with quite as much honesty as this one, with Sandoval using this as a platform to demonstrate her own quandaries relating to gender issues. The future of filmmaking is one in which opportunities are given to those whose stories have been historically absent in the past – and for someone like Sandoval, who has committed her life to expressing herself in a way that feels true to herself, giving her the space to tell a story like her own, only serves to add another invaluable entry into a steadily-growing canon of films that dive into queer issues without any hesitation, because these are stories that are worth being told. Lingua Franca is the rare kind of film that doesn’t only captivate the viewer, but makes us feel emotions that aren’t very common when it comes to such stories. Social realism is always interesting, but it takes on an entirely new level of meaning when it is made by someone who has a clear connection to what is being shown on screen. It adds nuance, insight and authenticity to a medium that always thrives the most when such principles are clearly employed, even if only marginally. Sandoval’s work here is absolutely breathtaking – its the kind of film that makes us wonder where this creative individual has been all this time, and might even make us guilty for not noticing her work sooner. Any work of art that can inspire such a visceral reaction in the viewer is immediately worth something – and while this is an absolute masterpiece and one of the finest films of the year, it’s clearly only the starting point for what is bound to become an impressive career by someone with the brilliance, earnestness and unmitigated talent to make a serious impression on an industry that is so much better now that it finally has someone with her immense skills in it.