The humanitarian crisis at the border gets an immersive, on-the-ground look on Showtime
An early scene in the first season ofdirector Matthew Heineman's docuseries about cross-border crime and its consequences, sums up the voyeuristic appeal — and seediness — of its immersive approach. A young addict named Brittany buys heroin over the phone while telling the documentary crew in her motel room mid-tears that it's been a month since she's seen her children. "I need to stop the cycle now," she says, "I don't want my kids looking in a casket.
." Further diminished by the stubborn lack of contextualization for the topics at hand, the series came close to inadvertently making the director and his team its most compelling characters.'s four-part follow-up season, about the humanitarian crisis at the border, is a substantial improvement.
The border crisis is in fact only the nexus where several broken systems feed into one another, many of which are represented in. The relentless gang violence that impels Central American asylum-seekers toward the U.S. is typified by Magda, a widow fleeing her native Honduras with her toddler daughter and her brother-in-law after her husband is killed by MS-13.
It's surely important work, as one anonymous young woman, speaking to a human rights activist named Marisa, can attest. The woman recalls being forced into prostitution by her MS-13 member boyfriend, then being gang raped by a group of men who, afterward, discussed beheading her. "What better prey for organized crime than migrants?" Marisa sighs. Unlike drugs, "You can sell a human being over and over again.
Nearly as perturbing is a little girl who tells Marisa, "I hope the police kill my father, because he will kill me, and then my mom." She shows the older woman where her father burned her, and her mother's resigned confirmation suggests that this wasn't an isolated incident. But Heineman's narrow M.O.
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