I’ve seen a lot of stories about immigrants in Canadian movies lately, but none that I’ve found quite as problematic as the story of the Canadian movie “Carmen,” a film about a young immigrant mother and daughter living in Montreal.
The story starts with Carmen, an American girl born in the United States to American parents, and her father.
Carmen is a “lonely girl,” her father told her in a letter, because she was raised by her single mother.
Her mother died of a heart attack at the age of 46, and Carmen’s father, a truck driver who moved to Canada from Mexico, never spoke to her again.
In the film, Carmen is introduced to a young couple, who introduce her to the city’s many immigrants.
They tell her that she and her friends can get in on the action, that they are “carmen.”
But Carmen’s mother is actually a woman named Carmen, who immigrated to Canada in 1949, the year the U.S. entered World War II.
The film ends with Carmen walking through the city, trying to “meet people” to get to know them.
Her mother, Carmen’s grandmother, is also a character in the film.
She is shown as a middle-aged woman with her head shaved, and wearing a wig.
Carmen’s grandfather, the filmmaker, says that he had never met her mother before they met and that the relationship between the two women has not developed.
“She was like an angel,” he told the Montreal Gazette in 2015.
“I think she’s the one who is the real angel.
She’s the real hero.”
The story is told through a series of flashbacks, as Carmen and her two older sisters, Carmen and Maria, watch as the father and mother leave for Canada.
They leave behind their small home in Montreal, with no means to pay for their living.
They are “wasting” their money on drugs and alcohol, and living off the money they earn from a “gift” from a wealthy friend.
The film shows Carmen in a small Quebec city where she lives with her two sisters.
She has a boyfriend, who has a young son.
When Carmen’s parents leave, they send Carmen and the boy to live with their grandparents, who live in a large house near the airport.
Carmens parents have moved away, leaving Carmen alone with her mother, who she cannot speak to.
When her mother decides to leave for the United Kingdom to see her son, Carmen takes her to see him.
The movie ends with a montage of the four sisters and their families walking around in their new surroundings, and a montages of the American family watching the family get to meet the children.
“Cavalcido,” Carmen says, with her eyes wide and a smile.
“Here we are.”
And then, with a little flourish, the film ends.
The reaction to the film has been mixed.
Many have questioned whether Carmen is actually an immigrant and what role the immigrant mother plays in the family.
Others have argued that the film makes the family seem like “victims.”
And others have criticized the film for being “anti-immigrant” and a “tourist movie.”
I saw Carmen once, in a movie theater in Toronto, a year ago, and the movie wasn’t very good.
It was good enough to see if the critics would let the film make them think it was anti-immigrant.
The critics weren’t.
They liked the movie.
They were very nice people.
I didn’t have much to say about Carmen.
It is a nice film about immigrants.
I would say that the director of the film is an American filmmaker who has made a lot more films than I have.
He is a Canadian.
And Carmen is an immigrant.
And it is about the family, and about how families grow and what it means to be a Canadian in Canada.
And I have no problem with that.
It’s about how our communities look at immigrants and about our shared values.
I think the Canadian audience has a very good idea of what a family is and what a Canadian family is.
They’ve seen films like “Logan” and “Fences,” and they know that Canadians have a long history of immigrants.
And so, I don’t think there’s any need to get into a controversy about Carmen, because I think it’s not about her.
Carmen and I don