A camera pan across tight façades on a narrow street of a Mexican city, a child on a balcony, telephone wires framing clouds—such striking images of place stay with you. Carolina Rueda’s deft camera constructs the backdrop of a compelling story of two children who grew up in the wake of revolutionary parents’ clandestine decisions. The intentional use of two languages both spoken and in text as an assertive aesthetic is both an innovation and a pleasure. Oklahoma Mon Amour portrays a ruptured family and the quest for its reunion, the journey of two brothers, the challenges faced by multicultural youth needing to find their true identity and to unveil buried secrets, all of this tinted by the puzzling closeness between Mexico and the U.S. Filmed in black and white and with a non-traditional structure evocative of an earlier cinema from the sixties and seventies, the film also interacts with current world tensions, and presents an unusual approach to the Mexico/U.S dynamics, also showing a cosmopolitan Mexico City seldom seen in cinema.