All Of It – "Two Daughters Visit Their Troubled Father in 'In The Summers'"

Host: Alison Stewart (WNYC)
Guest: Alessandra La Carraza (Director/Writer of In the Summers)
Date: September 18, 2024

Episode Overview

This episode centers on the new film In the Summers, an intimate drama about two sisters who visit their troubled father, Vicente, every summer in Las Cruces, New Mexico. The conversation between Alison Stewart and filmmaker Alessandra La Carraza explores personal inspiration, casting choices (especially the reggaeton superstar Residente in his acting debut), the bilingual narrative style, how childhood and family trauma are depicted, and creative decisions made during production. La Carraza reflects on her own family, Latinx identity, and the complexities of forgiveness and healing.

Key Discussion Points & Insights

1. Origins and Personal Resonance (01:16–02:48)

• The film is deeply autobiographical. La Carraza explains it was a way to process unresolved questions following her father’s unexpected death.
  • "Making this film was a way to access those answers. What is forgiveness possible and what is healing?" (Alessandra La Carraza, 02:30)
• The complexity of the father-daughter relationship, including the beauty and pain, is central.

2. Casting Residente as Vicente (03:20–05:31)

• Residente's blend of a tough, tattooed exterior with soulful intelligence made him ideal.
  • "He just has those eyes that communicate, and that was incredible." (Alessandra La Carraza, 04:40)
• The challenge was in guiding an accomplished performer into a role requiring subtlety, shifting from charm to menace seamlessly.
  • "He's actually just very attuned to his emotions and able to display them at a drop of a hat." (Alessandra La Carraza, 05:09)

3. Casting Across Different Ages (05:31–07:15)

• Three sets of actors play the daughters at different ages.
• The youngest were cast first for continuity, hoping the older actors would bridge the gap.
• Building on-screen chemistry involved orchestrated off-camera interactions (ice cream outings, handshakes) and keeping some distance between actors to maintain tension on screen.

4. Bilingualism and Language Choices (07:20–08:22)

• The film purposefully blends English and Spanish, with no subtitles, reflecting the lived reality of Latinx families.
  • "I wanted to put the audience in that perspective... ask the audience to lean in, to not worry about the actual dialogue that's being delivered, but feel the emotions." (Alessandra La Carraza, 07:29)
• Dialogue in either language was left up to the actor’s instincts for authenticity.

5. Setting and Visuals (08:22–09:43)

• Las Cruces, NM, was found via Google Maps, chosen for its natural beauty and allegorical connection (the desert as metaphor).
• Filming in New Mexico’s white sands was beautiful but challenging, with temperatures reaching 108°F. The team filmed early mornings to avoid the worst heat.

6. Character and Dynamics (09:43–12:16)

• Details like Vicente’s shaking hands and underutilized intelligence are visual cues for his state.
  • "He wants to make that first impression... it's almost a moment of tenderness... to center us in his anxiety." (Alessandra La Carraza, 10:00)
• Violeta and Eva's different attitudes towards their father are highlighted: Violeta as independent, Eva as yearning for connection.

Memorable Illustrative Moment:

• Eva brings Vicente a gift that he turns into an ashtray—symbolizing his disregard for her attempts to connect.

7. Depictions of Addiction and Mental Health (13:02–14:43)

• Vicente’s increasing reliance on alcohol and drugs parallels his emotional unravelling.
• The state of Vicente's inherited house physically mirrors his inner decline over the years.

8. Sibling Bond and Coming-of-Age (15:28–16:58)

• The sisters’ relationship is a core theme; siblings act as witnesses and supporters through familial trauma.
  • “One of the powerful things siblings do is be a witness to everything that's happening.” (Alessandra La Carraza, 15:38)
• Their dynamic shifts as they mature, with their father perceived less as a hero and more as flawed.

9. Family Backstory & Narrative Choices (17:01–18:04)

• The film offers minimal explanation of the mother or the daughters’ lives outside the summers, trusting the audience to fill in gaps.
  • "For me, those absences are very important, very loud... trusting the audience... allowing the audience to have the ability to have an imagination around that was very important." (Alessandra La Carraza, 17:11)

10. Queerness and Identity (19:04–19:49)

• Violeta's subtle queer awakening reflects the director's identity.
  • “I wanted this to be centered around a family dynamic, but still include queer themes and a queer character.” (Alessandra La Carraza, 19:12)
• LGBTQ+ aspects are present, but not the central conflict: “Queer people have family problems, too. It’s not always related to our queerness.”

11. Intergenerational Cycles and Hope (20:07–20:44)

• Vicente’s efforts to be a better father to a new daughter offer hope, even as old patterns repeat.
  • "For me, that's the hope of the film, is that he doesn't give up trying." (Alessandra La Carraza, 20:26)

12. Directorial Challenges and Artistic Choices (20:45–23:28)

• Shooting car scenes was unexpectedly complicated (“cars don't recommend”).
• The use of still-life tableaus between chapters was inspired by Dutch vanitas painting, emphasizing the fleeting, fragile nature of life and family.
  • "They're these still lives that kind of show you your mortality by juxtaposing different images." (Alessandra La Carraza, 21:41)
• In editing, two summers were merged for better pacing—a hard, but effective, creative decision.

Notable Quotes & Memorable Moments

• On the film’s emotional honesty:
  • “I just wanted to display how complex our relationships are with our parents and how they make us who we are, and we have to kind of suffer the consequences of that.” (Alessandra La Carraza, 02:53)
• On the bilingual style:
  • “A lot of Latins in the US don't speak Spanish... I wanted to put the audience in that perspective.” (Alessandra La Carraza, 07:29)
• On family trauma and healing:
  • "When you go through a trauma or you go through something difficult, that's the only other person who's there to witness." (Alessandra La Carraza, 15:38)
• On what she hopes audiences feel:
  • "My deepest hope is for the audience to understand the complexity of the human experience and how it's not always just good or bad, but we are a combination of all those things." (Alessandra La Carraza, 22:20)

Timestamps for Key Segments

• [01:16] – Introduction to the film's plot and La Carraza's personal connection
• [03:20] – Casting Residente
• [05:31] – Casting the daughters and creating family chemistry
• [07:20] – Bilingual storytelling and use of language
• [08:41] – Choosing and filming in Las Cruces, New Mexico
• [09:43] – Depicting the father’s vulnerability and mental state
• [13:02] – Escalation of Vicente’s addiction
• [15:38] – Sibling relationship and its importance
• [17:01] – Narrative choice to obscure family backstory
• [19:12] – Subtle inclusion of a queer coming-of-age
• [20:07] – Vicente as a father to a new daughter
• [21:41] – Still-life tableaus and artistic influences
• [22:20] – Desired audience takeaway
• [22:42] – Difficult directorial decisions during editing

Conclusion

This episode offers a nuanced, heartfelt look at In the Summers—a film that tackles the thorny realities of family, identity, addiction, and growing up. Through thoughtful questions and candid responses, listeners gain a deeper appreciation of the film’s themes, the director’s personal journey, and the craft behind portraying the complexities of family on screen.