During the first several minutes of Manito, I was convinced that I was going to hate the film for its amateurish recorded home video effects—shaky hand held digital camera, unidentified characters, and bad natural lighting. Immediately plunged into the Dominican neighborhood of Washington Heights in New York City, I was feeling disoriented since this was a subway stop much further north than I had ever ventured. It's also initially impossible to sort through the characters, but like one of Patrice Chéreau's atmospheric films, the disjointed threads soon come together and create compelling melodrama. A daily routine beginning with alarm clock slapping, showering, getting dressed preps the audience for the major event of the day—a graduation ceremony, where Manny or Manito (Leo Minaya) will be the first of the Moreno family to graduate from high school, and the celebratory party to follow.

We're never sure what has made Manny so different from his classmates. Estranged from his father (for reasons that will be revealed), he comes from a typically dysfunctional family and blends in easily with his classmates, who all hold far fewer aspirations. Manny can talk the talk of his street-wise bros, hang with a plethora of underachievers, and seem indifferent to academics, yet he has a full scholarship for Syracuse University and represents hope for his family to break free from its past—all typical formula melodrama staples for the "underclass." Had the film focused on this basic plot, it could easily be discarded. Fortunately, Eric Eason's debut feature focuses more on internal character and goes where no camera has gone before.

Could this mark a landmark in filmmaking? The digital camera itself becomes a major character because it gives any director with unique connections access to previously unfilmable subjects.
The film's greatest strength comes from exploiting the digital camera in Dogme style to bring an intimate portrait of working class Dominican life in upper Manhattan. Situated far from Manhattan's tourist attractions and inaccessible to outsiders, Washington Heights Latino culture has never been previously captured realistically on film. Actually, this segment of society has only been presented stylistically before, but Eason's observant cinema verité style camera soaks in the local atmosphere—the cramped living quarters, the rapid fire dialogue that merges English and Spanish into Spanglish, the street life. And the auditory technicians layer in the street sounds and edit in a Latino musical score that appropriately varies from lively and vibrant to melancholy.

Expertly carrying most of the film is Manny's older brother, Junior (Franky G.), trying to make it here as a painting contractor after serving a stint in prison. His is the most rounded character, gaining sympathy for his compassion for his younger brother but adding an edginess with his street smarts and philandering machismo. His charismatic presence has caught the eye of a few other directors, granting him small parts in bigger vehicles like The Italian Job and the upcoming Wonderland. Borrowing from Italian neo-realism, most of the actors are completely unknown and were selected from a citywide search. Using mostly non-professional actors lends even more authenticity to the film.

Literally filmed on a shoestring, Manito personifies the labor of love concept. The actors and crew were given only minimal lunch money for their efforts. Locations throughout the five boroughs of New York City were often selected for convenience sake—a Staten Island high school graduation ceremony lends credibility, and some of the graduates graciously lend their caps and gowns to the actors for props. One high school scene had to be relocated after crew members messed up by littering, but Eason adjusts without a hitch. When shooting guerilla style, creative dexterity and a keen eye and ear for detail are essential, and the camera doesn't miss a beat from the inner city lifestyle to a harrowing subway ride from Hell that leads to inevitable darkness.

It's an American film that captures a sub culture that most of us find impossible to penetrate, now accessible through this personal project, available through a unique limited release on the big screen with simultaneous DVD release through Film Movement. By overlooking the formulaic melodrama and initial cinematic discomfort, I unexpectedly found that I began to really care about Manny and his family. I expect most viewers will feel similarly.