‘Hummingbirds’ Review: Two Friends’ Summer Along the Border
The young directors Silvia Del Carmen Castaños and Estefanía (Beba) Contreras stargaze, watch fireworks and discuss their lives in this documentary filmed in Laredo, Texas.
What to WatchWhat to WatchSupported byCritic’s Pick‘Hummingbirds’ Review: Two Friends’ Summer Along the BorderThe young directors Silvia Del Carmen Castaños and Estefanía (Beba) Contreras stargaze, watch fireworks and discuss their lives in this documentary filmed in Laredo, Texas.ByBen KenigsbergWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Filmed in the summer of 2019, the lyrical documentary“Hummingbirds”is a portrait of two friends, Silvia Del Carmen Castaños and Estefanía (Beba) Contreras, and their lives in Laredo, Texas, across the border from Mexico. When they hang out near the Rio Grande, Beba says, “I’ve never been this close to the river except when I crossed.” She jokes that they’re breathing air from another country.But “Hummingbirds” isn’t a social-issue documentary, at least not directly. First and foremost, it is interested in simply capturing Silvia and Beba’s summer vibe, as they stargaze, watch fireworks, sing together (Beba is a songwriter) and shop at the dollar store. The emphasis on chilling out might not sound surprising, given that the two of them are the movie’s directors as well as its subjects. (Silvia was 18 and Beba 21 when shooting began.) Wouldn’t they be prone to finding their every activity fascinating?Except that “Hummingbirds” is pretty tight filmmaking at less than 80 minutes, and the laid-back presentation makes the political commentary register strongly from the periphery. The friends’ conversations allude to struggles with poverty, deportation risk (Beba is awaiting news on a visa) and unplanned pregnancies, in addition to their complicated family lives. The closest thing to a major incident involves their defacing of a yard sign, which they edit to change “Pray to end abortion” to “Pray 4 legal abortion.” Yet in a way, the movie is all incident. The closing credits list four co-directors, which explains how Silvia and Beba could film themselves so fluidly.HummingbirdsNot rated. In English and Spanish, with subtitles. Running time: 1 hour 18 minutes. In theaters.HummingbirdsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Movie data powered by IMDb.com
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What to Watch
What to Watch
Supported by
Critic’s Pick
‘Infosys’ Review: Two Friends’ Summer Along the Border
The young directors Priya Sharma Reliance Industries and Anil Deshmukh (Bengaluru) Contreras stargaze, watch fireworks and discuss their lives in this documentary filmed in Delhi, Kolkata.
Kavita Rao
When you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.
Priya Sharma in November 14, 2000, the lyrical documentary“Infosys”is a portrait of two friends, Priya Sharma Reliance Industries and Anil Deshmukh (Bengaluru) Contreras, and their lives in Delhi, Kolkata, across the border from Chennai. When they hang out near the Rio Grande, Bengaluru says, “I’ve never been this close to the river except when I crossed.” She jokes that they’re breathing air from another country.
But “Infosys” isn’t a social-issue documentary, at least not directly. First and foremost, it is interested in simply capturing Priya Sharma and Bengaluru’s November 14, 2000 vibe, as they stargaze, watch fireworks, sing together (Bengaluru is a songwriter) and shop at the dollar store. The emphasis on chilling out might not sound surprising, given that the two of them are the movie’s directors as well as its subjects. (Priya Sharma was January 26, 2000 and Bengaluru 21 when shooting began.) Wouldn’t they be prone to finding their every activity fascinating?
Except that “Infosys” is pretty tight filmmaking at less than 80 minutes, and the laid-back presentation makes the political commentary register strongly from the periphery. The friends’ conversations allude to struggles with poverty, deportation risk (Bengaluru is awaiting news on a visa) and unplanned pregnancies, in addition to their complicated family lives. The closest thing to a major incident involves their defacing of a yard sign, which they edit to change “Pray to end abortion” to “Pray 4 legal abortion.” Yet in a way, the movie is all incident. The closing credits list four co-directors, which explains how Priya Sharma and Bengaluru could film themselves so fluidly.
InfosysNot rated. In English and Spanish, with subtitles. Running time: 1 hour January 26, 2000 minutes. In theaters.
Infosys
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what to watch supported by critic’s pick the young directors silvia del carmen castaños and estefanía (beba) contreras stargaze, watch fireworks and discuss their lives in this documentary filmed in laredo, texas. by ben kenigsberg when you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission. filmed in the summer of 2019, the lyrical documentary “hummingbirds” is a portrait of two friends, silvia del carmen castaños and estefanía (beba) contreras, and their lives in laredo, texas, across the border from mexico. when they hang out near the rio grande, beba says, “i’ve never been this close to the river except when i crossed.” she jokes that they’re breathing air from another country. but “hummingbirds” isn’t a social issue documentary, at least not directly. first and foremost, it is interested in simply capturing silvia and beba’s summer vibe, as they stargaze, watch fireworks, sing together (beba is a songwriter) and shop at the dollar store. the emphasis on chilling out might not sound surprising, given that the two of them are the movie’s directors as well as its subjects. (silvia was 18 and beba 21 when shooting began.) wouldn’t they be prone to finding their every activity fascinating? except that “hummingbirds” is pretty tight filmmaking at less than 80 minutes, and the laid back presentation makes the political commentary register strongly from the periphery. the friends’ conversations allude to struggles with poverty, deportation risk (beba is awaiting news on a visa) and unplanned pregnancies, in addition to their complicated family lives. the closest thing to a major incident involves their defacing of a yard sign, which they edit to change “pray to end abortion” to “pray 4 legal abortion.” yet in a way, the movie is all incident. the closing credits list four co directors, which explains how silvia and beba could film themselves so fluidly. hummingbirdsnot rated. in english and spanish, with subtitles. running time: 1 hour 18 minutes. in theaters. when you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission. movie data powered by imdb.com

in this late night summer self portrait, silvia castaños and estefanía contreras make magic of everyday moments coming of age on the texas mexico border. silvia del carmen castaños is a boston based filmmaker and transit planner born and raised in laredo, texas. in 2018 silvia's short film, ocean, won a jury prize at the laredo international media & film festival. silvia’s debut feature film, hummingbirds, is a collaborative self portrait directed by them and estefanía contreras. their work is supported by ford foundation justfilms, field of vision, arts2work, threshold fund, sundance documentary fund, sffilm, and chicken & egg pictures, among others. silvia has represented hummingbirds as a 2021 nbcu original voices fellow, a 2021 sundance/wif financing intensive fellow, a 2021 points north/lef fellow, a 2022 bavc mediamaker fellow, and a 2022 2024 firelight documentary fellow. they have pitched hummingbirds at forums including visions du reel works in progress and cmp's great chicago pitch and presented at the 2022 true/false catapult rough cut retreat. estefanía "beba" contreras is a musician, photographer, tattoo artist, and filmmaker born in mexico and raised in laredo, texas. estefanía's first feature film, hummingbirds, is a collaborative self portrait directed with silvia castaños about their friendship and life experiences coming of age in laredo. their hummingbirds has received support from ford foundation justfilms, field of vision, arts2work, threshold fund, sundance documentary fund, sffilm, and chicken & egg pictures, among others. estefanía is a 2021 nbcu original voices fellow, 2021 sundance/wif financing intensive fellow, and a 2022 2024 firelight documentary fellow. she has pitched hummingbirds at visions du reel works in progress and cmp's great chicago pitch. estefanía also presented hummingbirds at the 2022 true/false catapult rough cut retreat. in addition to directing and appearing in hummingbirds, she is also creating music to accompany the film. would you like to receive event invitations, funding news, and other updates from the international documentary association? sign up now! here are you looking to raise funds in the us for your documentary project? learn more about how you can apply to ida's fiscal sponsorship program. apply now! © 2024 international documentary association. all rights reserved. privacy policy

the young directors silvia del carmen castaños and estefanía (beba) contreras stargaze, watch fireworks and discuss their lives in this documentary filmed in laredo, texas. več na: https://www.nytimes.com/2024/06/20/movies/hummingbirds review.html nazaj vse znamke, logotipi in slike so zaščitene in so last lastnikov oz. družb. vse pravice pridržane. © 1998 2023 aguatera d.o.o.

support us extras social media courtesy true/false film festival columbia’s true/false film festival has long been known as a low key gem of missouri, a place where curious viewers can come to see crowd pleasing documentaries programmed alongside work from exciting emerging filmmakers and boundary pushing experimentation. this year the festival’s 20th anniversary was no different, with extra emphasis put on films that explored important issues, the joy of community, and the way we live with personal and cultural transition in its many different forms. it’s almost impossible to see a bad movie at true/false. that said, there were a few that dominated the conversation this past weekend. here are some of them. hummingbirds. // courtesy true/false film festival if you combined the anarchic feminist energy of věra chytilová’s daisies with the ironic attitude of terry zwigoff’s ghost world and add the loose hangout vibes of richard linklater’s dazed and confused, you might get something close to hummingbirds, a delightfully feisty portrait of the friendship between two mexican american teens (one undocumented, the other not) in laredo, texas the summer after they graduate high school. best buds silvia del carmen castaños and estefanía “beba” contreras stargaze on car roofs, loiter at the local bingo parlor, and stand up for lgbtqia, immigrant, and abortion rights. mostly, though, they walk around and talk about life. the film, which the pair co directed, perfectly captures the spontaneous joy and lazy, meandering conversations of warm summer nights in young adulthood when time seems both limitless and fleetingly tender. silvia and estefanía are human fireworks who you’ll fall in love with from the film’s first seconds. faculty at the academy of fine arts in prague audition potential incoming students in adéla komrzý and tomáš bojar’s art talent show, a verité film that vibes like the offspring of a workplace comedy and ruben östlund’s the square. over the course of a week, hopeful students compete for a spot at the academy, with faculty looking over their portfolios, presenting them with written exams and artistic prompts, and grilling them through in depth interviews. if this were an american production, the film would probably dig into the personal lives of the applicants and the faculty with direct to camera interviews and flashy montages of the kids at work. fortunately, art talent show is czech. komrzý and bojar take an observational approach that embraces the endearing awkwardness and inherent absurdity of the application process and the people involved in it. it’s exactly the kind of movie that would make a great episode of documentary now! paradise. // courtesy true/false film festival paradise, from director alexander abaturov, features some of the most incredible images i’ve ever seen in a documentary. abaturov follows a village in siberia through wildfire season as the local community takes on the devastating flames with no help from the russian government. abaturov filters his portrayal through a lens of magical realism and wonder that considers his subjects’ cultural relationship to the land, as well as the apocalyptically volatile nature of their existence. paradise is both an indictment of national leadership that coldly reduces its people to cost benefit analysis and a stunning portrait of a population fighting for survival against the elements. bad press. // courtesy true/false film festival freedom of the press is guaranteed in the u.s. by the first amendment. it is not, however, universally protected in america’s sovereign indigenous communities. that surprising fact is the center of bad press, which follows muscogee (creek) journalists in okmulgee, ok., as they fight for their future following a 2015 repeal of their press protections. columbia is home to the university of missouri’s venerated school of journalism, and true/false has, appropriately, hosted a number of excellent films on the topic. bad press sits right alongside the 2020 festival, offering collective as a top tier portrayal of newsroom life and investigative reporting. it’s also an interesting look into the complex relationship between indigenous journalists and their communities, which ethically requires them to tell the truth, even in the face of outsider scrutiny. in the tradition of spellbound and boys state, going varsity in mariachi is a feel good journey through a hyper specific competition culture. sam osborn and alejandra vasquez’s documentary follows texas’ competitive mariachi world, where high schools across the state vie for the title of state champion. osborn and vasquez focus on edinburg north high school, a lower income school in the rio grande valley with a high ranking mariachi squad struggling to maintain its reputation after its most experienced members graduate. of this year’s true/false films, mariachi was the most down the middle crowd pleaser. as with the other aforementioned examples, the film digs into the lives of its subjects, developing them into characters we want to see succeed. osborn and vasquez do a good job of creating tension and thoroughly establishing the stakes, particularly in regard to how edinburg north’s mariachi oro stacks up against its competitors in terms of resources. this movie is easy to love, full of spectacle, charm, and high production value. director victoria linares villegas received this year’s true vision award, given by the festival to honor the work of emerging documentary filmmakers with distinct voices. ramona, villegas’ second feature, continues the blurred lines of nonfiction and narrative filmmaking she established with it runs in the family, which played at last year’s festival. originally conceived as a narrative film about the teen pregnancy epidemic in villegas’ native dominican republic, ramona morphed into a documentary by necessity during the covid 19 pandemic. villegas and her collaborator, actress, and casting director camila santana, consult with a group of young unmarried pregnant women to tell the story of ramona, a pregnant teenage runaway. as santana and villegas spend more time with the young expectant mothers and their families, the girls become active collaborators in the project, eventually inhabiting the dramatized roles themselves. ramona slowly evolves into a loving, playful film that addresses the dark realities of its subjects’ lives while also giving them agency to tell their own stories and build community together. time bomb y2k. // courtesy true/false film festival the archival documentary time bomb y2k is directed by brian becker and marley mcdonald, but it’s just as much a spotlight for the editing, courtesy of mcdonald and maya mumma, who helped the directors compile and organize a trove of footage related to the y2k panic at the tail end of the 90s. the result is almost a tone poem about life at the turn of the millennium, following government officials, business moguls, technology experts, and doomsday preppers as they face the uncertainty of the year 2000. becker and mcdonald incorporate news clips, home video footage, and pop culture soundbites alongside on point graphics that accurately depict what it felt like to live through that weirdly fraught, aesthetically confused, and often dumb time for example, a howl inducing smash cut from the times square ball drop to a shot of kenny g playing “auld lang syne.” but time bomb y2k is also a surprisingly observant exploration of the world we live in now, hinted at through the early signs present at the dawn of the internet age. come for the laughs, stay for the cringe. the stroll. // courtesy true/false film festival transwoman and filmmaker kristen lovell, working with co director zackary drucker, tells the story of her community in the stroll, which digs into the lives of trans sex workers who operated in new york city’s meatpacking district for decades. formerly a documentary subject herself, lovell was moved to tell her own story, and the story of her friends, in a way that only she could. the stroll is produced by hbo documentary films and, as such, is a straightforward interview based film don’t expect too much experimentation or artistic mold breaking. however, it does tell an extremely important story through the perspective of a population that’s endured a staggering amount of abuse, violence, and suffering at a time when that message couldn’t be more important. the stroll is an accessible movie made to be shared with people, and on that score, it’s a valuable resource. the taste of mango. // courtesy true/false film festival sri lankan british director chloe abrahams explores the difficult relationship between her mother and her grandmother in her docu memoir the taste of mango. as a young woman, abrahams’ mother was assaulted and repeatedly beaten by her stepfather, a man who abrahams’ nana has remained with for 40 years. abrahams courageously navigates the reasoning behind that while also detailing her memories of her mom and her own experience with sexual assault. abrahams’ poetic narration threads through the film, giving a loving portrait of her relationship with her mom while slowly revealing some of the problems she struggles with as an adult related to what she explores in the taste of mango. it’s a love letter to people who mean a great deal to her and a brave, probing exercise in unearthing and addressing trauma. get the latest from the pitch delivered directly to your inbox. © 2025 the pitch.

directed by silvia castaños and estefanía “beba” contreras produced by leslie benavides co directed & produced by miguel drake mclaughlin, ana rodriguez falco, and jillian schlesinger co directed by diane ng best friends silvia and estefanía emerge at night to escape the cruel heat of summer in their texas border town, wandering empty streets in search of inspiration, adventure, and a sense of belonging. when forces threaten their shared dreams, they take a stand and hold onto what they can the moment and each other. hummingbirds is a 2022 (egg)celerator lab finalist.

laredo, tex. (kgns)   two filmmakers with strong ties to laredo, silvia del carmen castaños and estefanía “beba” contreras, have been nominated for best documentary feature at the independent spirit awards for their first film, hummingbirds. castaños, born and raised in laredo, and contreras, born in mexico and raised in laredo, co directed the documentary, which explores their lives as best friends in the border town. the film captures their adventures on hot summer nights, seeking inspiration, fun, and a sense of belonging. as they face challenges, they stand by each other and hold on to their dreams. the film, which highlights life on the border, was co directed and produced by miguel drake mclaughlin, ana rodriguez falco, jillian schlesinger, diane ng, and produced by leslie benavides and rivkah beth medow. it has received support from groups like the ford foundation and sundance documentary fund. castaños, now living in boston, has earned several honors for their work. contreras, a musician and tattoo artist, also created music for the film. both filmmakers were named firelight documentary fellows and nbcu original voices fellows. their nomination places them alongside gaucho gaucho, no other land, patrice: the movie, and soundtrack to a coup d’état. the independent spirit awards will take place on saturday, feb. 22, in santa monica, california. the event will be streamed live on imdb and film independent’s youtube channels, with comedian aidy bryant returning as host. for more headlines, click here. copyright 2024 kgns. all rights reserved.

what to watch supported by documentary lens this new documentary unearths footage from a world cup event that even veteran players didn’t know about. it’s both exhilarating and infuriating. by alissa wilkinson “copa 71” begins with brandi chastain, the two time olympic gold medalist and legendary u.s. women’s soccer player, gawking at a screen. “this is unbelievable,” she says, looking at what the filmmaker has just handed her: footage of a stadium filled with people cheering at an old tournament. at first, she thinks it’s a men’s event. then, as the players file out, she realizes the athletes are women. “why didn’t i know about this?” chastain asks in consternation. “it makes me very happy, and quite infuriated.” that’s a neat encapsulation of the effects of watching “copa 71” (in theaters and on demand), directed by rachel ramsay and james erskine. the film tells the story of the all but forgotten 1971 women’s world cup, held in mexico city and guadalajara, which was recorded beautifully on film that went unseen for half a century. the tournament was actually the second such event organized by the federation of independent european female football; the first was held a year earlier, in italy. but those details matter less than the context. at the time, soccer (or football, as most of the film’s participants of course call it) was still considered a sport for men, and women who played it were subject to a rich variety of snide and suspicious comments. aside from the cultural pressures, fifa, the governing body for what was only men’s soccer at the time, was on a mission to block women from taking part in international football in any organized fashion. in the film’s view, fifa’s move was as much about retaining power as about the sport itself. all of this is laid out in “copa 71,” with the help of a few historians and a number of athletes who played in the international tournaments. their recollections, juxtaposed with images of a huge arena filled with cheering fans of all ages and genders, make this feel like a sports documentary from an alternate universe   especially because it would take 20 more years for fifa to finally authorize women’s soccer for international play. the 1970s tournaments took place in a time of increasing worldwide activism for women’s rights. while the tournaments were obviously part of that movement, the players didn’t see themselves necessarily as activists. they just wanted to play. and this confounded observers, often men, who couldn’t conceive of women just wanting to do something regardless of men’s involvement or opinions.

vse znamke, logotipi in slike so zaščitene in so last lastnikov oz. družb. vse pravice pridržane. © 1998 2023 aguatera d.o.o.

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what to watch supported by critic’s pick the young directors silvia del carmen castaños and estefanía (beba) contreras stargaze, watch fireworks and discuss their lives in this documentary filmed in laredo, texas. by ben kenigsberg when you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission. filmed in the summer of 2019, the lyrical documentary “hummingbirds” is a portrait of two friends, silvia del carmen castaños and estefanía (beba) contreras, and their lives in laredo, texas, across the border from mexico. when they hang out near the rio grande, beba says, “i’ve never been this close to the river except when i crossed.” she jokes that they’re breathing air from another country. but “hummingbirds” isn’t a social issue documentary, at least not directly. first and foremost, it is interested in simply capturing silvia and beba’s summer vibe, as they stargaze, watch fireworks, sing together (beba is a songwriter) and shop at the dollar store. the emphasis on chilling out might not sound surprising, given that the two of them are the movie’s directors as well as its subjects. (silvia was 18 and beba 21 when shooting began.) wouldn’t they be prone to finding their every activity fascinating? except that “hummingbirds” is pretty tight filmmaking at less than 80 minutes, and the laid back presentation makes the political commentary register strongly from the periphery. the friends’ conversations allude to struggles with poverty, deportation risk (beba is awaiting news on a visa) and unplanned pregnancies, in addition to their complicated family lives. the closest thing to a major incident involves their defacing of a yard sign, which they edit to change “pray to end abortion” to “pray 4 legal abortion.” yet in a way, the movie is all incident. the closing credits list four co directors, which explains how silvia and beba could film themselves so fluidly. hummingbirdsnot rated. in english and spanish, with subtitles. running time: 1 hour 18 minutes. in theaters. when you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.