Quinceañera, set in Los Angeles, is a visual treat with its slices of Spanish-American culture. Spanish and English overlap like a collage of mixed cultures. Images of white gowns, styled hair and tiaras are splashed throughout the film. Family members both old and young are celebrated and praised.
The film begins with the celebration of Eileen's, the protagonist Magdalena's cousin, quinceañera. Eileen is Magdalena's "rich" cousin whose parents can afford an extravagant quinceañera from the decked-out limo with the stripper pole to the after-party that has a deejay. However, the party is soon interrupted by Carlos, Eileen's unwanted brother, who gets ejected.
The film illustrates the significance of a quinceañera in Spanish families. The repetition of tedious dance recitals and dress fittings are abundant. A quinceañera, Magdalena's father explains, marks the transition from girlhood to womanhood. This rite of passage occurs when a girl turns 15. This theme of womanhood is important and to the main character, Magdalena.
Magdalena is a cute 14-year-old who hangs out with her friends, attends church and spends time with her boyfriend Herman. Although Magdalena is a virgin, she's pregnant. Her father, a preacher, does not believe Magdalena and tells her that she has brought shame onto the family. As a result, Magdalena leaves and stays with her Uncle Tomas.
Although Quinceañera is a decent film, most of the characters are one-dimensional. They are either the "good" guy or "bad" guy. They are either understanding or intolerant. There aren't any areas of gray --only black and white. For example, Magdalena's father is portrayed as the "bad" guy for not being understanding, although it is expected that a father would be incensed if he found out that his 14-year-old daughter was expecting a child.
Uncle Tomas is the "good" guy because he doesn't pass judgment on Magdalena. He embraces Magdalena and does not chastise her, unlike her father. Although Uncle Tomas' non-judgmental attitude is a breath of fresh air when compared to that of Magdalena's overbearing father, one wonders if Uncle Tomas is too understanding.
In spite of Magdalena's likeability, she is not a sympathetic character. Because Magdalena keeps her emotions to herself, the audience is not given much insight on how she actually feels. She comes across as a childish and unworldly girl who doesn't seem to realize that her world will change once she has her child. Accompanying Magdalena is Carlos, her gay cousin. Carlos is a "thug" who shatters the stereotype that all gay men are flamboyant and effeminate.
In spite of its interesting plot, the film lacks raw, dramatic acting. Magdalena does not express any fear or doubt about her transition from girlhood to motherhood. Instead she is bewildered about her pregnancy because she did not engage in sexual intercourse (the doctor called it "non-penetrative conception").
The ending is problematic because it is too simple. Magdalena's father calls the pregnancy a "miracle." Magdalena has a relatively happy quinceañera. No one is mad at one another. Everyone is all smiles and grins. Although this may make for a "happy" film, it is not realistic.
It would have been more realistic if Magdalena did not resolve the rift with her father and if her quinceañera wasn't so pleasant. If the film wasn't so Disney-like, it could have been an unforgettable, powerful film that captivated its audience and delved into the life of a soon-to-be teenage mom. Instead, the film plays it safe and gives the audience the fairy tale ending that is always expected.
