Guián review – celebration of multicultural identity through a Chinese grandmother in Costa Rica

Nicole Chi Amén, a Costa Rican woman of Chinese descent, has always been on the outside looking in. The opening scene of her moving debut feature replicates this predicament visually: her face pressed against a metal barricade, she looks through a hole in the opaque facade with interest. The camera is observing, too, and the sight of a house being torn down gradually comes into view. This was once the home of her maternal grandmother, a Guangdong native who emigrated to Costa Rica more than 60 years ago. Conceived in the aftermath of her passing, Amén’s film probes the fragility as well as the resilience of cultural heritage as she embarks on a journey of self-discovery.

Since neither Amén nor her grandmother speaks the other’s native language, a barrier looms large in their relationship. Even “guián”, the name Amén used to call her grandma, is a linguistic hiccup; the word refers to a paternal grandmother in the Enping dialect, a variation of Cantonese. In fact, miscommunication surrounds Amén wherever she goes. In a revealing sequence stitched together from various taxi rides, she is constantly queried by drivers confused by her multicultural identity. Seemingly innocuous, their prying betrays startling ignorance and racist prejudice. The same situation recurs when she travels to Guangdong to get closer to her roots, only this time the people asking these questions look like her.

Simultaneously deemed neither Costa Rican nor Chinese enough, Amén finds traces of belonging in less concrete places. From a Lunar New Year celebration lovingly prepared by her relatives to the dilapidated remains of her grandmother’s home in Guangdong, the director scavenges for memories that she can claim as her own. In a sense, the film as a whole also transforms into a memento, one that can hold the many contradictions of a life lived between worlds.