***½/****
starring Victor Rasuk, Judy Marte, Melonie Diaz, Altagracia Guzman
written and directed by Peter Sollett
by Bill Chambers The remarkable Raising Victor Vargas (formerly Long Way Home) stars soon-to-be somebody Victor Rasuk as the titular Victor, a 17-year-old raising the ire of his strict abuela (Altagracia Guzman) during the long, hot New York summer by virtue of having outgrown her idle threats. As the film opens, Victor asks out the beautiful Judy (Judy Marte) at a public pool in a pre-emptive bid to salvage his reputation for getting it on with a neighbourhood lass nicknamed "Fat Donna." When Judy shoots him down, she only stokes his attraction, and he devotes his waking life to the pursuit of her affection, which gives Victor's grandmother another hollow reason to believe he's a bad influence on his younger brother and sister (Silvestre Rasuk and Krystal Rodriguez)–though the reason Judy's ultimately drawn to him is that he projects safety and security. For the first couple of minutes of Raising Victor Vargas, you're worried–or maybe titillated–that Larry Clark might have sparked an imitator, but even though I'm a devout Clark fan, I feel the premier Peeping Tom of American youth could learn a thing or two from Peter Sollett, who makes his feature-length writing and directing debut here. Like Clark, he ekes transparent performances lacking in narcissism from inexperienced talent, but Sollett's characters are a kindler, gentler breed; Victor's 'make love, not war' attitude (some contentious debates with his elders notwithstanding) has a revolutionary quality, perhaps, given its milieu (which Tim Orr photographs with the same sepia brilliance he brought to George Washington). At the risk of hyperbole, I treasured every single scene of this film, especially the tender exchanges between the Vargas boys (played by brothers in real life). Ending on a low-key but by no means emotionally reserved note that induces goosebumps, Raising Victor Vargas is filled with truthful observations that add up to more than just another entry in another year's coming-of-age sweepstakes–much, much more. A goddamn poem, actually, one that transcends age, race, and finally genre. PROGRAM: CONTEMPORARY WORLD CINEMA
