La critique de James Berardinelli (2)

There are two key differences between In America and a "typical" film about immigrants living in America. In the first place, the setting is contemporary. Most movies contemplating this subject take us back to the early 1900s, when Ellis Island was brimming with optimistic newcomers. (It's worth noting that there isn't a single shot of the Statue of Liberty in In America, even though most of the film takes place not far away.) Secondly, the movie is not relentlessly depressing, as many immigrant stories are.

Sheridan, who is known as a political filmmaker, does not advance a cause. Instead, he focuses on the push-pull forces that simultaneously bind Johnny and Sarah's family and threaten to tear them apart. In America is filled with small moments of tragedy and triumph - much as is the case in real life. Those in search of a depressing tale of crushed dreams will need to look elsewhere.
                                                                                                 
At least in part, the film's perspective is that of 11-year old Christie. The voiceover narrative, which is used sparingly, is hers, and the film occasionally employs images captured through a low-cost camcorder that is her constant companion. Christie's childlike innocence is important to the story's development. Her implicit faith in others allows her to approach Mateo without fear, rather than to cower away from him like the other inhabitants of the tenement.