‘Upon Entry’ review: Alejandro Rojas and Juan Sebastián Vásquez present a tense look at the abusive powers of immigration authority | SXSW

It’s one thing to be asked questions about your background, to make sure all information is in line and to ensure everything is in order during an inspection. It’s another thing entirely when every question feels dreadfully loaded and personal, spoken with a clear intention to push a narrative into your mind.

Writers/directors Alejandro Rojas and Juan Sebastián Vásquez present Upon Entry not so much as a damning condemnation of the U.S. immigration system as much as it is a deep exploration of psychology, authority, and how easily people in positions of power can abuse it. Some of what this young couple goes through brings back upsetting memories of the 2012 film Compliance.

Our couple, – Diego (Alberto Ammann) and Elena (Bruna Cusí), – have won the U.S. Immigrant Visa lottery. As they are midway through their journey from Barcelona to Miami, they are held at Newark Airport for further inspection. Even before anything goes wrong, there is already tension in the air. From the beginning, we experience what Diego and Elena go through at every single moment, even from something as simple as being asked to have their fingerprints taken. Four fingers on the right hand, then the right thumb, then the left hand, then the left thumb. These are details that any other film would typically skip. But Rojas and Vásquez want us to look. They don’t cut away from these kinds of small details, resulting in a sense of dread and anticipation for anything to go wrong. Going through Immigration & Customs can feel intense even if things all go smoothly and you’re good to go. Imagine if you are instead taken to another room and you will be held for God-knows-how-long.

This is where the questions begin, as Diego and Elena are quickly moved into the secondary inspection room. A more simple-minded writer could make this scenario over-the-top or blatantly obvious by making every single person who works in Immigration & Customs a white person. Rojas and Vásquez could’ve taken that easy route and make the film just about race, but instead, they complicate things to great effect. Our border officer (Laura Gómez) is Spanish. Not only is this a smart choice creatively, but it adds just another problem for Diego and Elena – up until this point, they were able to safely communicate to each other in Spanish while no one else understands them. Now, even that safety is gone.

The script continues to be thematically and dramatically interesting, as normally in an interrogation, we would root for the characters to succeed. We would understand their motivations and be with them every step of the way during their goals. Upon Entry intentionally skips these elements. We’re dropped right into the present with Diego and Elena. We basically do not get a chance to get to know these people together or individually. With that, many of the intrusive questions begin to shine a light on whether or not our leads are in fact who they say they are, or if they are potentially hiding anything. Or maybe they have nothing to hide but this entire process will try to force them to confess something anyways.

The more Upon Entry goes on, the more doubt starts to seep in, as Rojas and Vásquez introduce just enough new information to keep the story compelling, without veering into melodrama territory. But it is truly Ammann and Cusí who carry the film on their heavy shoulders. While Diego makes questionable decisions during the interrogation process, Ammann approaches his character with an incredible amount of empathy. He’s not standoffish nor confrontational, and though much of Diego’s background is openly said out loud via questions and answers, Ammann provides a sense of grace and vulnerability to the man, as we come to understand his life so far is not one of stability. Cusí has the simpler but heavier role, as Elena comes to learn of new information the same time she is questioned about it. With that, Cusí has to juggle a wide variety of emotions, from annoyance and frustration to confusion and heartbreak, and she dances between those lines so easily, it looks effortless on screen. Sitting right in front of them, separating the two from each other in the shot, is our border officer, who later brings in a male co-worker (Ben Temple) to assist.

The questions are not only harsh and cruel, but they seem to be asked in a manner where the border officers already know the answers, and the real test is to see if Diego and Elena are lying. This psychological warfare escalates when the officers separate them and interrogate them separately. It all feels set up, like the officers just want Diego or Elena to say the thing they want to hear. Such tense and arguably immoral situations bring to mind famous psychological experiments such as the prisoner’s dilemma – it’s only a dilemma if you don’t trust your partner, but this entire process has been to seep in doubt.

We are left wondering if there is even a point. It feels as if the United States does not want Diego and Elena. Hell, by the time this is over, maybe Diego and Elena don’t think it’s worth it anymore. When something as life-changing as immigrating to a new country is supposed to be the start of something new, the process sure feels like it’s already ended before it’s begun. But even with the immigration premise set aside, Upon Entry is still a sharp, unsettling look at how easily authority can crumble hard-established trust and relationships.

Rojas and Vásquez direct as tightly as they write. The pair wring out so much suspense from their claustrophobic rooms and hallways, while even providing some chances to uncomfortably laugh at how terrible Diego and Elena’s ordeal is. They achieve more in 74 minutes than most filmmakers can in two hours. Led by fantastic lead performances and a confident hand in tone and atmosphere, Upon Entry is exactly the kind of low-budget thriller that I love to champion.

Grade: B+

This review is from the 2023 SXSW Film Festival. The film, from Anonymous Content, does not yet have U.S. distribution.