En el séptimo día
Panorama | Contemporary World Cinema
Jim McKay’s return after a number of years directing television is a genuine triumph, a throwback to the early 1990s as well as neorealism. José is a bike delivery man for a Mexican restaurant and the best player on his soccer team, which, as the film begins, qualifies for the finals. They’ll take place the next Sunday, but on that day there’s an important party at the restaurant. José values his job and, like many of his friends, is in the US illegally. His pregnant wife, still in Mexico, is planning to cross over, and his boss has promised to help with papers. Rather than break the news to his teammates, José tries to find a way out of the situation himself.
Set in Sunset Park, Brooklyn, En el Séptimo Día explores the "invisible" life of a neighbourhood, akin to what McKay accomplished with Crown Heights in Our Song. José and his friends, many of whom live together in a cramped apartment, amount to a vibrant community of hard workers for whom fútbol is religion. The current politics of immigration remains unspoken but very much felt in the film, which, shot documentary style on a low budget, is dazzling in a minor-key manner. It’s rare to see such honest humanity portrayed in American independent cinema, or, for that matter, anywhere.